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Spotlighting Another Giant of Short Prose: Wigleaf

24 Apr

On Market Monday I’m turning over an old leaf.

Apologies for skipping Market Monday last week—I was hosting my big sister from Saturday to Saturday, and wanted to devote all my attention to her. Today’s market is worth two Mondays, I promise, so take special note!

I mentioned in my post on Cleaver Magazine that I have now covered all my favorite publishers of very short fiction. I turned the spotlight on Wigleaf in December, when I gushed about this model micro by Deb Olin Unferth. But I haven’t done the standard, thorough, Market Monday post on Wigleaf, so I’m filling in that gap now.

Do I like what they publish? This is another magazine that offers a wide range of voices, so most of us will find work here that we admire. In addition to Unferth’s delightful micro, I am completely in love with “Companion,” by Helen McClory, a story I have been meaning to highlight in a Fiction Friday post (somehow Fridays never seem to dawn these days in DailyShortyLand, but soon, soon). And try this more recently published plain-faced, monotone, dry-voiced story by Ashley Hutson, “Advancements,” a piece that held me spellbound in a way I can’t explain, which might be my favorite kind of happy reaction to a story.

Do they do justice to the published work? For me, Wigleaf’s is the rare site that functions so well as a direct entry to the work itself that I almost don’t even notice the aesthetics, and yes, that’s a compliment. When you click a link on the homepage, the story comes up in a different background color, totally set off from the page and contained in its own window. This has the same power to grab my full attention as opening a book, a rare thing to encounter on a website. They also publish from some of their authors quirky “Dear Wigleaf” bits that serve as a kind of “PS” to the published flash, which is a nice way to add interest to the story. And they bring an enormous amount of attention to their site (and therefore anyone published there) by annually selecting their favorite 50 flashes published online—check out their archives for all their lists.

Do their guidelines speak to me? “Impossible to say what we’re looking for,” they write, which is amply supported by, again, the wide range of voices they publish. I am most attracted by sites that either explicitly invite weirdness in their guidelines or put out an “All are welcome” sign, and Wigleaf has done the latter. They take up to 1000 words in a story, and allow 3 stories in one submission.

Wigleaf is another member of shorty royalty. If you have a strong interest in very short prose, you must become familiar with their site, and don’t hesitate to send along your best pieces. They take submissions in the final week of each academic month (excluding December) then take a break in May, June, and July. Which means you have, what, 6 days before their next break starts, so get going!

Your Assignment: An Ad Story!

10 Apr

It’s Market Monday and I’m crafting micro “ad stories” by the light of a match….

My plan for today was to post my picture of a favorite birthday cake, then wish myself a happy birthday and take the day off at Daily Shorty. But on a random Web jaunt, I stumbled over a delightful submissions opportunity that I have to share: The online journal matchbook is calling for “Ad Story” submissions, deadline April 30.

For the fourth time (where have I been??) “matchbook will publish very tiny stories in the form of Google Ads found next to search results and on websites in an attempt to use the advertising system to work for art rather than against it.” WHAT?! Oh my goodness. I’m smitten.

Read the full guidelines (the requirements are very specific) then check out their archived Ad Stories for inspiration.

Some of these story bits read like poetry, others like jokes, still others like lovely or jarring hints at full narratives. I would link my favorites, but they’re all collected on that same archives page, and anyway they’re so short, you can eat all of them up in only a few minutes. Enjoy! And then wrangle yourself some little bitty stories.

They’ll take as many as four, so get busy!



Cleaver Magazine Wants Your Flash

3 Apr

Market Monday’s got me racing through the digital litworld with A CLEAVER!

I found Cleaver Magazine in one of the Best Small Fictions anthologies but hadn’t checked it out until tonight. As of last week, I’ve covered my entire list of favorite very-short-fiction publishers in my Market Monday and Fiction Friday posts. Now I’m slowly working through unexplored journals on my long list, and as I find one I want to submit to myself, I’ll spotlight it here. Tonight I read the work of five journals that didn’t spark my interest. Then I landed at Cleaver Magazine.

The disadvantage of my current approach is that I might not have time to fully investigate the richness a site offers before I have to write it up. And this is definitely one of those times—mea culpa, but don’t let my flagging resources stop you from jumping in over there. In addition to art and all the usual genres, the site offers interviews, craft essays, book reviews, an editors’ blog, an advice column, travel essays, a podcast, and … *wait for it* … radio plays! Can I personally recommend each of these features? No I cannot, not yet. Am I going to romp around that site, sampling everything they’ve got, as soon as I have a bit more time? Hell yes.

Do I like what they publish? This is another journal to celebrate for the wide range of voices represented in their flash. The power of Nadia Laher’s low-key “Snake” sneaks up on you, Kaitlyn Burd’s delightful “Fictitious Forces” feels like it was born of the urge to reassemble a family of words in a new place, in a different order, with more color, and I’m plain in love with the indescribable “Seven Pieces” by Karen Donovan.

Do they do justice to the published work? I love the art paired with each story, which makes the flash feel so well tended. And some of my reading tonight reminded me that we shouldn’t take the professional, typo-free, nicely formatted presentation of the published work at CM and my other spotlighted markets for granted.

Do their guidelines speak to me? The guidelines are straightforward (but include the quirk of requesting that prose pieces be single-spaced, which is a good reminder to ALWAYS read these notes carefully), which I always appreciate, and there’s a warm, writer-friendly vibe, for sure. But they don’t say anything that attracts me in particular. It was the special attention to flash and then the aforementioned range of voices and plethora of accompanying features that got me excited to submit.

Seriously, if you’ve got some great flashes, this magazine has to be on your list. Just read the pieces they’ve put up in their last few issues and you’ll see that they aren’t looking for any particular kind of voice or approach. There’s nothing more writer-friendly than that.

Let me know if your work lands on this site so I can offer my congrats!

Work-It Wednesday: Spotlighting Newfound

29 Mar

On my hopefully one and only Work-It Wednesday, I’m grooving on niche.

I’m scrambling over here in DailyShortyland this week, and didn’t have the stillness nor focus to do my Market Monday duty. So today is “Work-It Wednesday,” my make-up date with you, reader, if you’re looking for markets worthy of your best, very short prose. I give you Newfound, a journal devoted to work that “explores how place shapes identity, imagination, and understanding.” And oh, how well they do that.

Do I like what they publish? Their flash pieces, which they define as no more than 1,000 words, are rich and varied. And unless I missed something, they don’t mark their flashes as fiction or creative nonfiction, so they get to sit wherever they want in your imagination. Really good micros and flashes are bursting at the seams with subtext, and the current issue’s “An Ode to Delmar” by Jamie Wagman gleefully pops stitches from top to bottom. I love the focus on one narrow subject, which of course serves as the window into a world of subjects, in Issue 3’s (Vo. 7, Fall) “In the Epoch of the King Salmon” by Paul Vega. And the compression and fierceness of that same issue’s “Verily, Verily” by Sarah Kathryn Moore makes me weak with admiration.

Do they do justice to the published work? They make it easy to find and access each flash published online, in current and previous online issues, and each piece lives on its own, tidy page.

Do their guidelines speak to me? When I first checked out Newfound, what excited me right away is their very brief statement of what they look for in flash prose: “Flash fiction, micro fiction, and hybrid work—if it’s brief (<1,000 words) and cutting edge, we’re publishing it.” I’m always interested in magazines looking for something outside traditional, realist fiction, because I often write this kind of fiction and I love to read it. And note that here they do specifically use the word “fiction,” but they also refer to “hybrid work,” which must be at the root of why they don’t label the flashes. I could be misunderstanding their intent, but if so, I’m glad. This stated openness to “hybrid work,” and the lack of labels for the flash prose—they allow a clean approach to each flash, that, for me, acts on the work, making it fill more space and suggest more meaning.

It all makes me rue my tendency to very rarely give place any attention in my work. What about you? If you’ve got a flash that focuses on place, fire it off to Newfound. They accept submissions year-round. And if they publish it, please report back here so I can applaud.



Weird and Wonderful Flash: Hermeneutic Chaos Journal

20 Mar

It’s Market Monday and I’m advocating Chaos.

Last week Hermeneutic Chaos Journal published its March issue, and I’m lucky enough to be included. I discovered HCJ in one of the Best Small Fictions collections, and immediately fell in love with their voice. I have only twice read stories at a magazine and concluded that my work is an obvious match—the first time with the Journal of Compressed Creative Arts, then with HCJ. In both cases I thought of a particular story immediately that might be right for the magazine, and in both cases the editor said yes to that submission within two days. Lightning should strike only once, really, so I now must accept that this particular brand of serendipity will never happen for me again, which makes my publication at HCJ especially sweet. Would you like to join me, there?

Do I like what they publish? Very much indeed. I’ve already highlighted a story from HCJ on a Fiction Friday, and I’ve got another HCJ flash I want to revel in some Fiction Friday coming in the next few months. In the meantime, here’s Sara Barač’s spare and evocative “Former Yugoslavia, Former You” from the current issue, and Jennifer Maritza McCauley’s sad, quiet “The Girl We Forgot” from Issue Sixteen.

Do they do justice to the published work? I love the art at the top of HCJ’s homepage, and each piece chosen to grace an issue page. So that—the arresting images and colors—grab me first. When I click on the link to a story, I get a soft, spacious white page with the story laid out simply, a minimalist presentation that lets the work speak for itself. As a bonus, any author who’s willing provides an audio file to accompany the story, so you can close your eyes and be read to, if you like. I’d never been asked to provide a reading of a published story before, and I enjoyed doing it. I don’t know why more online magazines don’t take advantage of what the Web allows.

Do their guidelines speak to me? They had me at this: “We admire all forms of experimental, hybrid and avant-garde literature, collaborative writings, visual and graphic outpourings – anything that literature is capable of.” That’s speaking MY language for sure, but the proof is in the reading. As it happens, I connect with, enjoy, and admire the work published here, and that’s the proof. I also appreciate being able to submit up to three pieces of prose at once (up to a total of 3K words).

So maybe invite a little literary chaos into your life and send a story or three their way? Let me know if you get published at HCJ so I can congratulate you!



Spotlighting Rejection Letters

13 Mar

It’s Market Monday and I’m wondering how you’re dealing with the inevitable rejection that accompanies the work of submissions.

I can’t lie to you. Somehow the fact that it’s Market Monday escaped me entirely until a half-hour ago. I thought about it yesterday, and it’s on the damn calendar, so how exactly did that happen? I think it’s because I’m pushing hard on submissions this month, but these last few days I’ve been in one of my little spirit-dips, when I focus a lot on the rejections I’m getting. Reader, I’m moping. And I’m distracted.

So in honor of my own demons, and because I assume you have similar ones, on Market Monday I’m going to absolve myself of the duty to spotlight a market, and instead I’m spotlighting the rejection letters I receive from all these magazines I’m recommending. I hope this means neither one of us need think about rejection at all, for, oh, at least another week.

* * *

Some of my writer friends love the No, but rejection letter. No, we don’t want to publish your story, but it’s strong writing and we wish you luck placing it elsewhere. No, your story isn’t a good fit for our magazine, but we enjoyed reading it, and thank you for thinking of us. No, this story doesn’t quite work for us, but please submit again. This last is the best No, but. And it’s the one I hate the most.

I went to a talk on how to manage the submissions process when I was getting my MFA. I learned that I should be delighted whenever a rejection includes a personal note. And a rejection obviously composed entirely for you? That’s gold. It means you’re almost there. If a magazine suggests you send more work, you’re a fool if you don’t. Which means I’ve been a fool many times over.

I would like to be a fan of the No, but. My No, but friends are smarter than I am, more big-hearted. My small mind would much rather read, “I just don’t get you,” rather than, “I get you… I just don’t want you.”

Other friends like the No, because. No, we have decided to decline your story, because it has a darker tone than we’re aiming for. Because to us it feels unfinished. Because we’ve published too many stories with park rangers in the last year. My No, because friends like having a solid reason for the rejection, and feel the because can actually help them re-think their work. That’s sweet.

I’ve only received two No, because rejections and they pissed me off. Just like you, Editor, don’t want me to explain my story in my cover letter, I don’t need to hear your thoughts about what does and doesn’t work in my story. It’s condescending. Or… not. It’s not, of course. It’s an editor wanting to write a letter that doesn’t feel so goddamned arbitrary, and it comes from a warm spot in that editor’s heart, and I so wish I could properly appreciate that. But I leave appreciation to my No, because friends.

Me, I’m a “Because I said so” kinda gal. I was raised well before the term “helicopter parents” was invented, in an era when parents expected you to do what they said because otherwise, where are you going to sleep? Who’s going to feed you? My parents never insisted they were right about any particular question about my behavior, they never won an argument by insisting they knew better. They simply lorded it over me and my siblings with their pure authority over little things like breakfast, lunch, and dinner. Which means I was always free to think whatever I pleased, I just needed to behave a certain way when in sight.

Whatever you think of this as a parenting philosophy, it seems to me the perfect editorial stance for a rejection. I’m not saying your story isn’t genius. I’m saying I didn’t understand or enjoy it. Done. There are so many publications I neither understand nor enjoy. So I get that. It’s a matter of personal taste. And you, Editor, happen to own the key to the lock on the front door, so yours is the taste that matters just now. I can live with that.

All of which is to say that I feel the least distressed by a rejection that comes as a plain, polite, No, full stop. Which is dumb. Because it means the editor had zero interest in my work and wants to ensure I don’t sense a molecule of encouragement in her letter, because if I do, good god, she might have to read something else I’ve written. Why would I prefer to see THAT in my inbox? Because a woman who reviews rejections, e-mails her friends about them, categorizes them, writes about them… is a woman who takes rejection way too seriously. And personally.

Yeah, but so what. Every age of my life seems to come with a great gift. In middle age I’m letting go of worrying so much about how I feel. Whether it’s justified, whether it’s sensible, whether it’s constructive or destructive. How I feel is how I feel, and I’ve got too much yard work and too many Chopped episodes, and, yes, too many stories to revise and submit, to waste time worrying about it. So if a No, but and a No, because make me mope, fine. Because moping requires a pause. And categorizing rejections requires close attention.

A No, full stop doesn’t bother me, so it doesn’t slow me down. Which is great, because how many times do I need to get a No, full stop before I stop trying the same magazine? Typically twice, sometimes three times, if it’s a sterling favorite. But a No, because, that’s more information I can use. Maybe, given what I now know, this magazine is the right home for a couple of stories I hadn’t before considered right for them. And a No, but, that’s screaming for more attention. When I said I’ve ignored the call for more work many times over, I was talking about habits well in the past.

In short, moping and categorizing do tend to focus the (rejected) mind on where I should send my next submission. I dearly hate a No, but. The whole damn time I’m selecting the next story I’m going to send to that editor, I’m just hating it.

I was asked recently for submissions advice by two beginning writer friends who have never submitted their work. Write this down, I said. If you see something personal, that’s gold. And if they ask you to send more work? Well, you’re a fool if you don’t.


Publishing Your Micro & Flash Fiction: A Master List

7 Mar

This week rather than spotlight a personal favorite shorty market, I’m using Market Monday to present a long list of magazines that favor very short fiction.

There’s no shortcut to discovering the right markets for your work. You have to search and read, search and read, search and read. I can’t help with reading, except to point to model micros and fab flashes I’ve encountered online, and highlight the good work my favorite shorty markets are publishing. But I can help with the searching.

You have to start somewhere, and my somewhere was Google, Poets & Writers, AWP’s Writer’s Chronicle, and word of mouth. Over time I pulled together a list of markets that request very short fiction in their guidelines, or run contests for very short fiction. I researched each and submitted my micros and flashes to the magazines who publish work I like and seems to fit well enough with my own.

When I discovered The Best Small Fictions 2015, I was introduced to quite a few additional publications that specialize in shorties, and I consider representation in that collection an automatic reason to give a market careful attention. The 2016 version included more.

At this point my master list is quite long, almost 100 titles. Of course my personal list, which I am forever refining, is much shorter, because I don’t submit to magazines if I don’t care for what they publish or if I think their aesthetic is so far from my own that they could never be interested in my work. You’ll discover the right markets for your own submissions by doing that reading reading reading I mentioned. Check out the magazines on my list and soon enough you’ll find your favorites.

You’ve got to start that research somewhere. If you don’t have a list already, why not start here? Good luck!

Shorty Royalty: SmokeLong Quarterly

28 Feb

On Market Monday* I’m considering my next submission to a giant of very short fiction.

smokelongqThe number of magazines where I’ve submitted more than twice is pretty low, and SmokeLong Quarterly ranks high on that shortlist. I keep knocking on the door because their home has so much love for very short fiction—they publish exclusively flash fiction no longer than 1000 words, and support the form in other powerful ways—and the range of voices they publish is so impressive.

Do I like what they publish? I talked about how much I enjoy a diverse selection of voices when I spotlighted River Styx last Monday. SQ is another rare magazine who finds gold in a variety of approaches and aesthetics. “Straight Lines” by Ryan Werner is a great fabulist flash, and I would label the equally great “Gravity, Reduced” by Kara Oakleaf as speculative fiction. I love this beautifully poetic flash from their Issue Fifty-Four, “The Body’s Amen,” by Brigitte N. McCray. Read that entire issue—you will find realist fiction, more fabulism, a fairy tale, a meta-fiction. Enjoy.

Do they do justice to the published work? Yes, they do a very nice job of setting off each story, but what truly thrills me is their devotion to flash fiction, apparent everywhere you go on that site. You’ll find a high-quality and well-maintained blog with reviews of flash collections, essays about flash fiction, and flash fictions written by children (yep, that’s what I said, see their blog posts marked “Fridge Flash”). They’ve recently launched a “Global Flash Series,” publishing flashes written in other languages alongside English translations. They even offer an annual fellowship (I’ll be applying this year, want to join me?) Like I said: Shorty Royalty, these people.

Do they nominate their authors for awards?** Their History page lists all the usual awards.

Do their guidelines speak to me? Again, they publish a wide range of voices, so this isn’t a magazine that’s going to get you excited about finding a perfect match to your work because of the way they’ve hammered out their wants. But the answer is HELL YES the guidelines speak to me, in that I have rarely come across such sincerity and warmth on a guidelines page. Their dedication to flash fiction shows here as a commitment to the authors they’re eager to publish: Their version of the “We’re writers, too” statement is relatable and friendly, and despite their wide-ranging aesthetic, they take a shot at clarifying for submitters what kinds of stories have a better chance of being selected. Best of all, they ask that you remove identifying information from your ms, so they’re apparently using a review process that is more or less blind. I respect and very much appreciate that approach, and continue to wonder why it’s not more widespread.

If you love very short fiction, you will love this site, for one reason or another. Send SmokeLong Quarterly stories, meditations on flash fiction, and your kid’s latest refrigerator masterpiece. They’re game for it all.

As always, if I’ve inspired you to submit here and your story is accepted for publication, please let me know so I can congratulate you!


*Yes, I know, it’s Tuesday. I got a little mixed up over here in DailyShortyLand. Don’t be such a stickler!

** It’s clear to me that if a magazine doesn’t have the presence (and the editors the presence of mind) to nominate their authors, then neither of us should be considering them at all, ever, for our submissions. In other words, nominations isn’t just a plus, it’s a necessity. So I’m dropping this criterion from my Market Monday posts. If you see a magazine recommended for your submissions at Daily Shorty, you can be sure that magazine nominates its authors for awards.

River Styx: Microfiction Contest

20 Feb

It’s Market Monday, my reminder to spark your ambition. And mine.

If you’ve got all the confidence and energy you need, and you just want an introduction to a new market for your very short fiction, skip to the Market Monday details below. If you’re in the thick of the winter doldrums, if like me you’re so sick at the state of our country you’re finding it hard to show up to the writing (and submitting) desk, if you’re doubting yourself and your work for any reason… read on.

2017 is going to be a year of self-talk, that’s becoming very clear. And that’s what a blog is for, first and foremost, whatever we bloggers like to think: I’m helming this Daily Shorty ship, and these posts are my captain’s log.

Today the captain is heartsick. Just as I was on December 5, when I talked about election dejection, then four weeks later, when I had to remind myself why I write, and then four weeks after that, when I used the words “election dejection” again. The captain’s heart veered from its pattern today because it has been only three weeks since the last time it cracked. This, the captain hopes, is a fluke.

In four weeks, in three weeks, every day, whatever. The solution is work and connection. For writers, work and connection amount to the same thing—writing. But on the other end of the connection is a reader. And no one can read your work if it’s not published.

So you must write. And you must publish. Both of which require ambition. And it’s tough to nurse ambition when you’re heartsick. Today I need a little help. So to follow through on this Market Monday blog post, I ignite my ambition by turning to my mother:

Over and over, as a girl-then-teen-then-very young adult, far too many times to guess at a count, over and over like the caption to the picture of my face, like a motto taped to the fridge, like theme music for the sitcom starring the nice-enough-but-comically-bumbling me, my mother said, “Ambition is unattractive in a woman.”

Oh, you were expecting encouragement? She’s not that kind of mom. But you’re in luck, because I am that kind of blogger, and I hereby offer this toast, which I have silently made to myself for many years now, every time I need to light a fire under my own ass: Here’s to being ugly.

Here’s to wanting to be seen and heard. Here’s to wanting your words to live in the world, your stories to linger in the mind of someone you will never meet. Here’s to answering the call, to donning your superhero costume, to screwing up your who-cares-if-it’s-pretty face and howling at the moon (at 10:00 in the morning, if that’s when you find time to work, the moon is out there like always, I promise). Here’s to doing your job.

Spotlighting River Styx’s Microfiction Contest

I could have picked a better season to talk about River Styx’s microfiction contest, given its December 31 deadline, but I vowed to highlight on Market Mondays my preferred magazines who have published my own micros and flashes before moving on to my hopefuls. I’ve got a flash coming out in March, but until then, River Styx is the last journal that fits the bill. Well, you can’t say you don’t have time to prepare a submission.

Do I like what River Styx publishes?  Yes, and what’s more, I think most would agree, given the wide range of voices RS publishes, something I’ve found rare in my review of litmags. RS is living on a new site and they haven’t yet populated all their archives pages, but I quickly found some live links to shorties I love, including Allison Alsup’s “Pioneers,” Ethel Rohan’s “That Mama,” and Amina Gautier’s “Minnow.” All stories about material I would never address and in a voice I would never come close to adopting, yet I was published here, too. I really appreciate that kind of diversity.

Aesthetics? Again, River Styx is unusual in that they produce lovely print journals but also maintain a very polished and substantial online presence.

Do they nominate authors for awards? Yep. All the usual ones accounted for on their About page.

Guidelines? As I’ve noted already, there’s no particular aesthetic the magazine appears to be aiming for. Instead it’s apparently all comers welcome, and your modest entry fee (only $10 if you don’t want a subscription) gets you three bites at the apple. They limit their contest entries to 500 words.

The personal is the universal, we writers like to say. It reminds us why our stories matter. If my protagonist finds solace by the end of the story I give her, a reader, somewhere, may find that same solace. Or inspiration or justified anger or cathartic bleakness—whatever was my goal, my ambition, for the story. The personal is the universal, so I keep a captain’s log in the hope I tell you something about your writing life, or—talk about ambition, wish of wishes—I give you a small tool to help you on your path.

Today I am heartsick. But just that little bit more ambitious from having written this post. I hope it’s catching.

AWP Note: Women Who Submit

13 Feb

The AWP Conference and a Maine blizzard scotches a proper Market Monday. Instead I’ll point you to a resource for building submissions energy and support.

womenwhosubmitlogoMy every-minute-packed trip to the Association of Writers & Writing Programs conference in Washington, D.C. was extended by a day on the front end so I could get out before a snow storm, and extended yesterday on the back end by nail-biting hours of travel home through a pre-blizzard snow storm. Today, blizzard. And unpacking, scrounging didn’t-prepare-for-the-blizzard meals from leftover crackers and chunks of cheese, a leak in the dining room. Tomorrow, digging out. In short: I am tired, lazy, and feeling irresponsible. So tonight I eschew the labor of putting together a proper Market Monday post, and instead introduce you to far more responsible folk.

Women Who Submit put on a lively and inspiring panel at AWP, where they introduced me to the idea of a “submissions party.” A group meets at a member’s house or a suitable public space, everyone brings food and drink to share, and Let the submissions begin! The more experienced members of the group show others the ropes, assisting with the language of cover letters, introducing markets, answering FAQs. They even line up speakers like journal editors and other members of the writing and publishing community. Sounds wonderful, and just the thing I needed when I first got started submitting my short stories.

The best part? They call it a submissions party because the bulk of the event is spent actually doing submissions. And every time someone hits “send” on an electronic submission or slaps a stamp on snail-mail, everyone applauds.

The group was founded in Los Angeles, but there are other groups around the country, and the panelists said they’re happy to hear from anyone interested in finding or starting a group—see their “About” page for e-mail addresses. Or, if you’re like me and you already have a submissions schedule that works for you, just surf their website and absorb the badass energy of these women. And think about connecting with one or more writing friends to develop your own support-and-celebrate routine to energize the work.

I’ll sign off with an anecdote shared by one of the ladies at the panel, founding member Dr. Ashaki M. Jackson. She said a writing friend who happens to be a submitting machine once told her she’d submitted to the same journal 15 times before they accepted a story. When asked about this tenacity, she replied with the astonishing, “Well, I knew they’d accept something eventually.” Astonishing because apparently she said it like “Duh” and because confidence like that among my writer friends is… well, not just rare, I don’t have any writer friends with that confidence. But I should, and I should have that confidence myself. So should you.

I’ve decided to stop being astonished by someone else’s faith in her own work, and use that energy to double my submissions efforts. As soon as it stops snowing. Join me?


Mid-American Review’s Fineline Competition

6 Feb

On Market Monday I get to talk about my very first literary magazine crush.

When I first got serious about my writing—or to be more accurate, in the first phase of the very long process of getting serious about my writing—I’d often meet with my friend Kelly at a cafe-bakery in Durham, North Carolina, both of us toting a fat, Post-It-note-bedecked Writer’s Market and a handful of the latest literary magazines we’d sampled, to help each other figure out submissions. We’d talk favorite stories and essays, then move around some Post-Its, then eat salads scattered with candied pistachio nuts. Most distinctly I remember the slabs of fancy cake I’d bring home to share with the husband, and Mid-American Review.

I hugged an issue of Mid-American Review to my chest and declared it the first literary magazine I had read with rapture from cover-to-cover in one sitting. And as it happens, it’s the only literary magazine I have ever read that way. “If I could get published here,” I said then, tapping the cover…. Well, there was no reason to finish the sentence because this was the stuff of fantasy.

MARcover35_1.inddYou know where this is going, so I’ll spare you the details of how many years it took for me to feel confident enough to submit to MAR, then how many times I got a “this was so very close” rejection that made me soar then crash in the space of about 40 seconds… and just break for the finish line: In the fall of 2014, MAR published my micro “Three Things” as part of a special issue celebrating very short prose. I drafted it during my Daily Shorty year on March 18, and barely changed a word before I submitted it to MAR’s Fineline Competition. So I can’t say sweet writing-world-luck has never given me a kiss.

You can’t ask for a more respected magazine to be associated with, and you certainly can’t ask for kinder staff, who send friendly e-mails keeping you up on the publication process, and maintain a blog where they will do whatever they can to promote the authors in their pages. I listed the Fineline Competition on my micro and flash contest page, so a quick peek tells me the deadline is June 1. You’ve got plenty of time to polish three micros of 500 or fewer words. Good luck!

And now to check off the Market Monday boxes:

Do I like what MAR publishes? I’ve answered that, but here I’ll focus specifically on the Fineline micros they’ve published over the years. Unfortunately, MAR publishes very little work on their site, but they do have the 2013 Editors’ Choice micro, Anika L. Eide’s wonderful “Some Parents,”in their sample contents. And after spending far too much time playing Google, I’ve tracked down two other lovely Fineline pieces available online: Jennifer Cheng’s 2013 winning piece from her Letters to Mao; and Andrea Witzke Slot’s “Panoply,” which was published in the same issue as my “Three Things.” You will not find more impressive company for your own work.

Aesthetics? Up to now I’ve looked at markets that publish their work online, but MAR is a print journal. Like almost all print journals, they do a very nice job of presenting the published work. I love their blog, where they post bits and pieces to promote the writers they’ve published. Here’s an interview they did with me, for example. And do yourself a big favor and search their blog for “Pets with MAR.”

The last two are easy: Yes, they nominate their authors for awards; and the guidelines of a contest that lets me submit 3 pieces of micro fiction at once make me very happy indeed.

You just can’t do better than Mid-American Review. When I read any other literary magazine cover-to-cover in one sitting, I’ll be sure to let you know that you should submit there, too. In the meantime, if you’re a lucky Fineline winner or editors’ choice, let me know so I can congratulate you. Happy writing!


600 Words for The Journal of Compressed Creative Arts

30 Jan

Market Monday reminds me to focus, and then, when I resist, has the nerve to interfere with my angry stupor. Election Dejection, Take II.

More writing cure, that’s what I need. Maybe you need it, too?

On December 5, I marked my return to Daily Shorty with the declaration that in the face of undispelled election dejection, “I would prefer to be animated and productive while I shake with anger and fear, rather than depressed and dithering.” Let the record show that “depressed and dithering” didn’t rear their ugly heads until Sunday. I didn’t overreact—I just went dark as I quietly absorbed the awfulness in the news. But today depressed and dithering tried to take root.

matterMarket Monday, my weekly spotlight on a magazine worthy of your very short fiction, asserts itself. It’s our reminder of my one superpower and yours: Words. The Journal of Compressed Creative Arts would like to see no more than 600 of them. Randall Brown, founder and managing editor, will treat your words well, as he did mine.

Do I like what JCCA publishes? That site is a treasure trove. Just a few gold coins to get you started here, here, and here.

Aesthetics? I like JCCA’s minimalist presentation, and I love the way the site’s organized, with easy access to archives on its homepage.

Do they nominate authors for awards? Why yes, yes they do! Check out that righthand side of the homepage.

Do the guidelines speak to me? This is one of those rare times when guidelines that articulate a vision beyond “send us your best” resonate with me. A strict word limit of 600 demands the kind of focus writers of very short fiction learn to master, but it’s the call to compression in particular—short doesn’t necessarily mean compressed—that shapes the voice of this journal. And I love it.

Let’s change the world for the better by publishing more truth with our stories. If you grace JCCA with your work, please let me know so I can congratulate you.

In the meantime, if you’re fighting continued election dejection, too, here’s the smartest political piece I’ve read in a long time. And I’ll sign off with a quote from America Ferrera, from the Women’s March on Washington, that gives me hope:

If we—the millions of Americans who believe in common decency, in the greater good, in justice for all—if we fall into the trap by separating ourselves by our causes and our labels, then we will weaken our fight and we will lose. But if we commit to what aligns us, if we stand together steadfast and determined, then we stand a chance of saving the soul of our country.


CHEAP POP Wants Your Micros!

23 Jan

It’s Market Monday! Grab your quirky, amped, oddball micros. You know, the ones that *POP*.

screen-shot-2017-01-23-at-6-31-01-pmI discovered CHEAP POP, home of the offbeat micro, when reading the excellent anthology The Best Small Fictions 2015. More on this little treasure and her 2016 sister in an upcoming post. For now I’ll thank the editors for bringing this terrific magazine to my attention just when I happened to be looking sideways at a handful of micro drafts I’d yanked from my Daily Shorty year. I liked them—I liked them a lot—but who would want them?

Do I like what CHEAP POP publishes? I read Leesa Cross-Smith’s “All That Smoke Howling Blue” in the anthology and thought, hmm. Is that story… finished? I read it again. Stopped to savor strange word-pairings that shot tension or was it joy? into the piece, thought hard about the sentence, “My name, a begging blue prayer,” so sad… or was it so eager? It’s a strange, jumpy or settled? little story, a slice-of-life piece if the lamplight’s flickering and the TV screen keeps going to static and you’re not sure if maybe you keep hearing that same ringing note, low, in your left ear, are you getting tinnitus or is that a memory??

After reading Cross-Smith’s piece, and then this one and this one and this one, I thought CHEAP POP might just appreciate my quirks, so I asked and they answered by publishing my micro “Just Asking,” originally drafted on April 26 during my Daily Shorty year. Many thanks to the editors.

They will like your quirks, too.

Does CHEAP POP nominate its authors for awards? Here’s their awards page.

Aesthetics? CHEAP POP does a great job of showing off an awful lot of pieces. If they didn’t have such a clean and balanced approach to page design, the collection of links would look too jumbled.

Do the guidelines speak to me? As someone committed to the craft of very short fiction, I love their devotion to micros—they take pieces 500 words or less, full stop. They couldn’t be more clear about how to put your submission together, which I very much appreciate. And this speaks to me for sure: “We don’t differentiate between Fiction, Creative Nonfiction, and Prose Poetry, nor do we have restrictions on genre—if it pops, it pops! What we want to see is good writing, your best writing, and that’s it.” Yes!

If you publish at CHEAP POP, please let me know so I can congratulate you! If CP doesn’t speak to you, just move on to the next. There are so many magazines worthy of your best work, I’m sure I’ll spotlight one you like soon enough. Good luck!


Micro & Flash: The Citron Review

16 Jan

Introducing Market Monday! Each week I’ll spotlight a magazine worthy of your micro & flash fiction submissions.

cropped-water-splash-on-lemon1829We apprentice writers have to keep the submissions going almost as much as the writing. Almost every day I’m thinking about submissions, researching markets for submissions, doing submissions. The process can be grueling, and it helps to have support.

I focused on contests for fiction chapbooks at the end of 2016, then contests for individual stories. Now I’m working on general submissions, and I’ll be very pleased if others can benefit from all this doing. So: Want to know where to submit your micros and flashes? Daily Shorty to the rescue!

As a thank you to the editors, I’ll be covering in my first Market Monday posts the magazines that have been kind enough to publish me. Today I’m spotlighting The Citron Review, which published two of my micros this past summer, “Waiting” and “Unwritten.”

You will have your own criteria for judging markets. I look for these things:

Do I like what the magazine publishes? Here’s a micro at TCR I really like, and oh look here’s another. And hey don’t miss this flash, and take a long moment to savor this one.

Is the website aesthetically pleasing? If the work is published online, does the magazine do a good job of highlighting it? I like the minimalism of TCR’s site, the eye-catching banner atop every page, the straightforward menu bar, and the overall clean but stylish look. Each piece is printed simply and clearly in a pleasing font against a soft background that doesn’t tax the eyes.

Does the magazine nominate its authors for awards? See here TCR’s nominations for the 2017 Pushcarts.

Do the guidelines speak to me? TCR’s guidelines are my favorite kind–plain, clear direction on how to submit–so this question doesn’t really apply. When applicable, I’ll note in these Market Monday posts the sort of work the editors are calling for, because when there is such a call, it can carry a lot of decision-making weight. If the editors say in their guidelines they strive to publish work that showcases the invitational splendor of generational micro-divisions, or they pine for stories that comment on the residual soul-mannerisms birthed by our primal makers… I’m outta there.

If you submit to The Citron Review and your work is accepted for publication, please let me know so I can congratulate you here. If TCR doesn’t move you, have faith–there are so many lovely places wanting your work, and I’ll be showcasing many of them.