Tuesday, February 28, 2006
Low-Residency MFA-In-Progress
I've stumbled on some information for a proposed new low-residency MFA program at Ashland University in Ashland, OH. Looks like they're hoping to get off the ground in 2007, with a program designed for writers of poetry and nonfiction. If you want to read the extensive proposal (apparently written for an Ashland University audience), click here. It's a PDF document.
Sunday, February 26, 2006
Some Writing Exercises for the Week
Whether you live in the Boston/Cambridge area or not, you can check out a few writing exercises offered courtesy of Grub Street, Inc. Even if you're not planning to read at the next Riot Act open mic (theme: "Bad Behavior"), scheduled for March 6, you might still make use of the five prompts provided to get you writing in time for the occasion. Interested? Click here.
Saturday, February 25, 2006
Chicken Soup for the Shopper's Soul
The deadline's approaching fast (February 28) for submissions to Chicken Soup for the Shopper's Soul. Writers of (nonfiction) stories accepted for final publication may choose between a $200 payment or 16 complimentary copies of the volume (per story published). Payment for published poems will be $50, on publication. For more terms and submission instructions, see the announcement.
Thursday, February 23, 2006
From My Bookshelf
The Creative Writing MFA Handbook: A Guide for Prospective Students
by Tom Kealey
Continuum Press, 2005
There's no doubt that Tom Kealey knows a lot about MFA programs (and the development of a literary writing career more generally). He is a former Wallace Stegner Fellow at Stanford University and a graduate of the MFA program in creative writing at the University of Massachusetts-Amherst. His story collection, Coyotes, won the Joseph Henry Jackson Award (awarded to a resident of northern California or Nevada for an unpublished work-in-progress), and his stories have appeared in GlimmerTrain and other impressive venues. Currently he teaches fiction writing at Stanford University and tutors at 826 Valencia. His lively "MFA Weblog"(linked to your right) seems to attract plenty of visitors, many of them leaving comments and submitting questions that Kealey generously takes quite a bit of time to answer.
In other words, Kealey is a competent and active guide to the world of creative writing programs. In fact, he adopts a "guide" persona early in his new book:
The book, he says, offers a starting point, equipping readers "with the tools necessary to make the most of your experience." And to that end, The Creative Writing MFA Handbook is quite solid.
You'll find a lot of information within it. You'll learn to define terms (the M.A./M.F.A./Ph.D. delineation, for example). You'll discover all the elements of an application. You'll receive a lot of useful advice on how to handle the teaching assignments that quite possibly will be part of your daily life in a residential writing program. You'll hear from voices other than Kealey's, including Adam Johnson's excellent Afterword essay. And you'll also hear hints about what to look for on program web sites (here I agree completely with Kealey—program directors would be well-advised to heed his observations on the elements of a good program Web site [pp. 53-56]).
Since I read his MFA Weblog regularly I can surmise that there's a real hunger for the advice Kealey provides in his book. But I don't necessarily agree with all of it (though I'm far from sure the book is going to cause the uproar in the creative writing community Kealey seems to think it will). I have two main concerns (and some minor quibbles) that I'll turn to now.
Possibly the point that troubles me most is Kealey's repeated suggestion that as you select a program you rely on comments from current students. And to be fair, Kealey supports this suggestion with echoes from his interviewees, so there seems to be at least some agreement about it.
But if the opinions of total strangers, to whom you've generally been directed by savvy program directors who are not exactly likely to give you the names, phone numbers, or e-mail addresses of students who aren't enthusiastic about their programs (and remember, these are people you don't know who, similarly, don't know anything about you, your academic and professional and personal background, your expectations for your writing and your classes and your teachers, your ways of working, your ability to write critically as well as creatively, your workshop experiences, your subject and style interests, etc., and whose own histories and expectations in all these arenas may differ completely from yours)—if the opinions of these individuals must matter so very much, there is one way to make the process at least a little more likely to pay off. Follow the questions Kealey's interviewees have suggested asking those strangers. You'll find them on pp. 85-86. (And also see my previous blog post on this subject.)
Now for the second issue. Anyone interested specifically in low-residency programs (and, again, judging merely from Kealey's own blog a lot of people sure do seem to be interested in them) is likely to be at least a little disappointed here. (At one point, the Q&A format of the book leads to this "exchange" between the potential reader and the author: Q: "It seems like a lot of these answers have to do with residency programs, as opposed to low-residency programs." A: "I think so too." Then Kealey recommends that you consult an interview with one student from one program (albeit a very good program with which, in the interest of full disclosure, I will say that I am currently affiliated) to remedy the situation. But I still think the book—and the reader—would be better served by presenting multiple viewpoints/experiences. In fact the book does scatter a few other snippets, including comments from another low-res alum and a low-res program director, elsewhere. You'll just have to find them on your own.
Beyond the relative paucity of information for low-res applicants, there's the matter of the actual advice. In the chapter on program criteria, which Kealey deems "the most important one on the book," the author himself notes that the information may be less relevant for potential low-res students. Moreover, sometimes the information that is provided for such students is at least a little questionable.
According to Kealey, for instance, for low-res applicants/students "location is not a priority since your location is where you're currently living." That's a little too dismissive for my taste. First, the location of your low-res program can have significant financial implications; considering how often finances, financing, and all things financial crop up elsewhere in the book, it's a little surprising that Kealey hasn't taken into account the financial complexities of low-res programming beyond high tuitions and scarcity of scholarship monies.
Here's the reality: Many programs require four on-campus residencies and a final graduating residency. That may mean five transcontinental (or even international) airline tickets, not to mention hotel bills (if campus housing isn't available and if you're not one of the "local" students that low-res programs seem to attract. In a way, some low-res programs share something with the residential ones: they're especially attractive, especially if they're just getting off the ground and haven't yet acquired a reputation/widespread name recognition, to "in-staters" and "locals." This was definitely the case in my program, where I was a member of the inaugural class. And by the way, a couple of low-res programs currently offer lower in-state tuition for in-staters, too).
But back to the costs associated with a low-res program location. Don't forget about taxi/rental car/other ground transportation. Not every low-res program is based in a city with a useful public transportation system (mine wasn't, though the city where I live does feature one, and I'm not a happy driver/rental car customer, either). So clearly, location can matter.
Enough on that. Kealey also tells prospective low-res students that "your experience will be primarily with faculty, not with other students. Definitely narrow your choices, and then definitely read the work of the faculty on your list." Elsewhere he defines a low-residency program as "basically a long-distance one-on-one workshop."
Here he neglects an important point: not every low-res program operates under the "mentor" model, with individual students matched with individual mentors, working as pairs throughout the semester and workshopping in groups only at the residencies. Some programs (mine was one) do teach through online workshops. And not every online workshop works the same way. Ours was essentially a series of e-mail exchanges. Other programs (to my knowledge, the University of New Orleans and University of British Columbia programs are two examples) rely on more sophisticated technology (Blackboard, etc.) to enhance the learning experience.
However it's done, a low-res workshop requires (or should require) you to focus on other students' work, and requires (or should require) other students to focus on yours. So those students do matter. A lot.
Although the mentor/student pairing has its advantages, working full-time with classmates can be a real plus. For one thing, the more you engage in critiquing other people's work the sharper your own writing and editing skills are likely to become. Working with other students is also beneficial in a low-res program in a case (and yes, it can happen, public paeans to fabulous faculty aside) where you realize a semester spent with your assigned instructor as an individual mentor would have been an absolute nightmare. It can even "bond" you with other students, to some extent.
But if you have little control over your instructor assignment (not every program lets you "choose" your instructor/mentor) you have absolutely no control over the other students in your workshop. And the truth is that not everyone is suited to (let alone experienced in) workshopping, especially online. You may or may not really even want to read their "creative" work (let alone their critiques of yours). As one low-res alum (who shall remain nameless) remarked to me recently, a single program can contain a surprising range of talent ("or lack thereof"). But since to a significant degree you're paying thousands of dollars each semester for the experience of working with these fellow writers-in-training, their abilities really do matter.
Again, not every low-res program runs workshops the same way. Some do, indeed, replicate the larger (10-12 student) model. This was the impression I gleaned about the New Orleans program when faculty described it at a conference session last year. Others (again, like the one I attended) may boast of a low student-faculty ratio (say, 4:1, at the most). But when you're working in a group of 10-12 you are less likely to be frustrated by the 1 or 2 "bad apples" in your group. 1 or 2 bad apples in a group of 3 or 4 is another matter, especially if the instructor isn't particularly engaged or willing to take the situation on.
Less obviously, however, is something I had not considered before I started an MFA program. It can be wonderfully enlightening and interesting (and therefore also helpful for your writing) to attend a program in another part of the country. Just be sure plenty of others are doing the same thing. As you may know from other life experiences, it's not necessarily fun to be in a "minority" anywhere. It isn't fun to sense that you're marginalized in a low-res MFA program, either. And though it may be politically incorrect to say this, diversity is not limited to gender or skin color. "Location" matters here, too, as do educational background, religion, and more. (For his part, Kealey promotes something he calls "life diversity. People from many parts of the country and the world who have had different experiences to share within the workshop." To that I'd add that the faculty should reflect a similar range.)
OK. So much for my major concerns. Here are a couple of other things to keep in mind:
1) As happens with virtually any printed directory these days, whatever an author presents as "complete" is bound to be incomplete before too long. For example, many writers may be drawn to Kealey's book for its considerable "List of Writing Programs," (including a sub-section focusing on Low-Residency Programs). But already three more programs should be added to that low-res program list. If you're an avid reader of this blog you've probably read about them recently, programs based at Sewanee, Pine Manor College, and Southern New Hampshire University. They'll be included in next month's primer update, too.
2) Be prepared to stick with the "cutesy" Q&A format, with the author creating repartee that gets a little old after awhile. (Example: Q: "How many programs will we be applying to?" A: "Why beat around the bush here? You'll apply to eight to twelve programs. Why? Because I said so. And because…." Another example: "Can you list the remaining criteria in bullet-point form?" A: "My thoughts exactly. Let's keep this bus moving."
But these reservations aside, it's easy to see why this book may become an important resource for prospective MFAers. Writers seeking top-notch advice on how to study, apply to, and choose residential MFA programs, especially, will learn a lot from it. Kealey is to be congratulated.
by Tom Kealey
Continuum Press, 2005
There's no doubt that Tom Kealey knows a lot about MFA programs (and the development of a literary writing career more generally). He is a former Wallace Stegner Fellow at Stanford University and a graduate of the MFA program in creative writing at the University of Massachusetts-Amherst. His story collection, Coyotes, won the Joseph Henry Jackson Award (awarded to a resident of northern California or Nevada for an unpublished work-in-progress), and his stories have appeared in GlimmerTrain and other impressive venues. Currently he teaches fiction writing at Stanford University and tutors at 826 Valencia. His lively "MFA Weblog"(linked to your right) seems to attract plenty of visitors, many of them leaving comments and submitting questions that Kealey generously takes quite a bit of time to answer.
In other words, Kealey is a competent and active guide to the world of creative writing programs. In fact, he adopts a "guide" persona early in his new book:
I want you to think of me as the bus driver. You're on a bus tour in a new city: the city of graduate creative writing programs. I've lived here for a number of years, and I know my way around. I'm offering you an introduction to the city, and I hope a clear, useful, and entertaining introduction at that. I'll show you the highlights of this new city, I'll tell you which streets to avoid, I'll offer tips on how to best spend your time, and I'll even stop the bus a few times and take a closer look at particular neighborhoods. I've also brought along some other residents of the city, and they'll offer you some insights and recommendations as we move along.
The book, he says, offers a starting point, equipping readers "with the tools necessary to make the most of your experience." And to that end, The Creative Writing MFA Handbook is quite solid.
You'll find a lot of information within it. You'll learn to define terms (the M.A./M.F.A./Ph.D. delineation, for example). You'll discover all the elements of an application. You'll receive a lot of useful advice on how to handle the teaching assignments that quite possibly will be part of your daily life in a residential writing program. You'll hear from voices other than Kealey's, including Adam Johnson's excellent Afterword essay. And you'll also hear hints about what to look for on program web sites (here I agree completely with Kealey—program directors would be well-advised to heed his observations on the elements of a good program Web site [pp. 53-56]).
Since I read his MFA Weblog regularly I can surmise that there's a real hunger for the advice Kealey provides in his book. But I don't necessarily agree with all of it (though I'm far from sure the book is going to cause the uproar in the creative writing community Kealey seems to think it will). I have two main concerns (and some minor quibbles) that I'll turn to now.
Possibly the point that troubles me most is Kealey's repeated suggestion that as you select a program you rely on comments from current students. And to be fair, Kealey supports this suggestion with echoes from his interviewees, so there seems to be at least some agreement about it.
But if the opinions of total strangers, to whom you've generally been directed by savvy program directors who are not exactly likely to give you the names, phone numbers, or e-mail addresses of students who aren't enthusiastic about their programs (and remember, these are people you don't know who, similarly, don't know anything about you, your academic and professional and personal background, your expectations for your writing and your classes and your teachers, your ways of working, your ability to write critically as well as creatively, your workshop experiences, your subject and style interests, etc., and whose own histories and expectations in all these arenas may differ completely from yours)—if the opinions of these individuals must matter so very much, there is one way to make the process at least a little more likely to pay off. Follow the questions Kealey's interviewees have suggested asking those strangers. You'll find them on pp. 85-86. (And also see my previous blog post on this subject.)
Now for the second issue. Anyone interested specifically in low-residency programs (and, again, judging merely from Kealey's own blog a lot of people sure do seem to be interested in them) is likely to be at least a little disappointed here. (At one point, the Q&A format of the book leads to this "exchange" between the potential reader and the author: Q: "It seems like a lot of these answers have to do with residency programs, as opposed to low-residency programs." A: "I think so too." Then Kealey recommends that you consult an interview with one student from one program (albeit a very good program with which, in the interest of full disclosure, I will say that I am currently affiliated) to remedy the situation. But I still think the book—and the reader—would be better served by presenting multiple viewpoints/experiences. In fact the book does scatter a few other snippets, including comments from another low-res alum and a low-res program director, elsewhere. You'll just have to find them on your own.
Beyond the relative paucity of information for low-res applicants, there's the matter of the actual advice. In the chapter on program criteria, which Kealey deems "the most important one on the book," the author himself notes that the information may be less relevant for potential low-res students. Moreover, sometimes the information that is provided for such students is at least a little questionable.
According to Kealey, for instance, for low-res applicants/students "location is not a priority since your location is where you're currently living." That's a little too dismissive for my taste. First, the location of your low-res program can have significant financial implications; considering how often finances, financing, and all things financial crop up elsewhere in the book, it's a little surprising that Kealey hasn't taken into account the financial complexities of low-res programming beyond high tuitions and scarcity of scholarship monies.
Here's the reality: Many programs require four on-campus residencies and a final graduating residency. That may mean five transcontinental (or even international) airline tickets, not to mention hotel bills (if campus housing isn't available and if you're not one of the "local" students that low-res programs seem to attract. In a way, some low-res programs share something with the residential ones: they're especially attractive, especially if they're just getting off the ground and haven't yet acquired a reputation/widespread name recognition, to "in-staters" and "locals." This was definitely the case in my program, where I was a member of the inaugural class. And by the way, a couple of low-res programs currently offer lower in-state tuition for in-staters, too).
But back to the costs associated with a low-res program location. Don't forget about taxi/rental car/other ground transportation. Not every low-res program is based in a city with a useful public transportation system (mine wasn't, though the city where I live does feature one, and I'm not a happy driver/rental car customer, either). So clearly, location can matter.
Enough on that. Kealey also tells prospective low-res students that "your experience will be primarily with faculty, not with other students. Definitely narrow your choices, and then definitely read the work of the faculty on your list." Elsewhere he defines a low-residency program as "basically a long-distance one-on-one workshop."
Here he neglects an important point: not every low-res program operates under the "mentor" model, with individual students matched with individual mentors, working as pairs throughout the semester and workshopping in groups only at the residencies. Some programs (mine was one) do teach through online workshops. And not every online workshop works the same way. Ours was essentially a series of e-mail exchanges. Other programs (to my knowledge, the University of New Orleans and University of British Columbia programs are two examples) rely on more sophisticated technology (Blackboard, etc.) to enhance the learning experience.
However it's done, a low-res workshop requires (or should require) you to focus on other students' work, and requires (or should require) other students to focus on yours. So those students do matter. A lot.
Although the mentor/student pairing has its advantages, working full-time with classmates can be a real plus. For one thing, the more you engage in critiquing other people's work the sharper your own writing and editing skills are likely to become. Working with other students is also beneficial in a low-res program in a case (and yes, it can happen, public paeans to fabulous faculty aside) where you realize a semester spent with your assigned instructor as an individual mentor would have been an absolute nightmare. It can even "bond" you with other students, to some extent.
But if you have little control over your instructor assignment (not every program lets you "choose" your instructor/mentor) you have absolutely no control over the other students in your workshop. And the truth is that not everyone is suited to (let alone experienced in) workshopping, especially online. You may or may not really even want to read their "creative" work (let alone their critiques of yours). As one low-res alum (who shall remain nameless) remarked to me recently, a single program can contain a surprising range of talent ("or lack thereof"). But since to a significant degree you're paying thousands of dollars each semester for the experience of working with these fellow writers-in-training, their abilities really do matter.
Again, not every low-res program runs workshops the same way. Some do, indeed, replicate the larger (10-12 student) model. This was the impression I gleaned about the New Orleans program when faculty described it at a conference session last year. Others (again, like the one I attended) may boast of a low student-faculty ratio (say, 4:1, at the most). But when you're working in a group of 10-12 you are less likely to be frustrated by the 1 or 2 "bad apples" in your group. 1 or 2 bad apples in a group of 3 or 4 is another matter, especially if the instructor isn't particularly engaged or willing to take the situation on.
Less obviously, however, is something I had not considered before I started an MFA program. It can be wonderfully enlightening and interesting (and therefore also helpful for your writing) to attend a program in another part of the country. Just be sure plenty of others are doing the same thing. As you may know from other life experiences, it's not necessarily fun to be in a "minority" anywhere. It isn't fun to sense that you're marginalized in a low-res MFA program, either. And though it may be politically incorrect to say this, diversity is not limited to gender or skin color. "Location" matters here, too, as do educational background, religion, and more. (For his part, Kealey promotes something he calls "life diversity. People from many parts of the country and the world who have had different experiences to share within the workshop." To that I'd add that the faculty should reflect a similar range.)
OK. So much for my major concerns. Here are a couple of other things to keep in mind:
1) As happens with virtually any printed directory these days, whatever an author presents as "complete" is bound to be incomplete before too long. For example, many writers may be drawn to Kealey's book for its considerable "List of Writing Programs," (including a sub-section focusing on Low-Residency Programs). But already three more programs should be added to that low-res program list. If you're an avid reader of this blog you've probably read about them recently, programs based at Sewanee, Pine Manor College, and Southern New Hampshire University. They'll be included in next month's primer update, too.
2) Be prepared to stick with the "cutesy" Q&A format, with the author creating repartee that gets a little old after awhile. (Example: Q: "How many programs will we be applying to?" A: "Why beat around the bush here? You'll apply to eight to twelve programs. Why? Because I said so. And because…." Another example: "Can you list the remaining criteria in bullet-point form?" A: "My thoughts exactly. Let's keep this bus moving."
But these reservations aside, it's easy to see why this book may become an important resource for prospective MFAers. Writers seeking top-notch advice on how to study, apply to, and choose residential MFA programs, especially, will learn a lot from it. Kealey is to be congratulated.
Wednesday, February 22, 2006
Maureen Corrigan on Deborah Eisenberg
If I hadn't already requested Deborah Eisenberg's new story collection, Twilight of the Superheroes (I'm third on the waiting list at the library), Maureen Corrigan's NPR review yesterday would have prompted me to do so. As it is, now I'm very tempted to skip the waiting period and just go buy the book.
Tuesday, February 21, 2006
Got Books?
If you have any books you'd like to give away, consider donating them to the New Orleans Public Library. How? Check out this announcement (which I found on NYFA Interactive):
"The New Orleans Public Library is asking for any and all hardcover and paperback books for people of all ages in an effort to restock the shelves after Katrina. The staff will assess which titles will be designated for its collections. The rest will be distributed to destitute families or sold for library fundraising. Please send your books to:
Rica A. Trigs, Public Relations
New Orleans Public Library
219 Loyola Avenue
New Orleans, LA 70112
If you tell the post office that they are for the library in New Orleans, they will give you the library rate which is slightly less than the book rate."
"The New Orleans Public Library is asking for any and all hardcover and paperback books for people of all ages in an effort to restock the shelves after Katrina. The staff will assess which titles will be designated for its collections. The rest will be distributed to destitute families or sold for library fundraising. Please send your books to:
Rica A. Trigs, Public Relations
New Orleans Public Library
219 Loyola Avenue
New Orleans, LA 70112
If you tell the post office that they are for the library in New Orleans, they will give you the library rate which is slightly less than the book rate."
Sunday, February 19, 2006
Humor Magazine Seeks Submissions
Found this one on Chicago Craigslist:
"The online humor magazine FLYMF (www.flymf.com) is looking for submissions.
Criteria: We're looking for pieces that are, well, funny. Take a look at the site to see the kind of stuff we publish. We like to think that we're smart but not above being raunchy if the joke calls for it, but we could be full of it.
Send your fiction, essays, poetry, shorts, comics and movies to submissions@flymf.com.
Please send submissions in the text of an email. Profanity does not guarantee humor. No Onion ripoffs.
* Compensation: $1.00/100 words; maximum $20. Comics: $10. Poetry and movies: Variable. Payment on publication."
Full announcement here.
"The online humor magazine FLYMF (www.flymf.com) is looking for submissions.
Criteria: We're looking for pieces that are, well, funny. Take a look at the site to see the kind of stuff we publish. We like to think that we're smart but not above being raunchy if the joke calls for it, but we could be full of it.
Send your fiction, essays, poetry, shorts, comics and movies to submissions@flymf.com.
Please send submissions in the text of an email. Profanity does not guarantee humor. No Onion ripoffs.
* Compensation: $1.00/100 words; maximum $20. Comics: $10. Poetry and movies: Variable. Payment on publication."
Full announcement here.
Friday, February 17, 2006
New Magazine Seeks Article and Feature Writers
"New magazine in the Western MA area is looking for writers to cover stories that relate to the African American and Latino cultures in the area. The magazine will cover Health and Fitness, Technology, Business, Entertainment, and Fashion. Looking for freelance writers to create short articles and longer feature articles. Also looking for writers who would be interested in writing a monthly column covering any of the above topics. Compensation will be based on article length but will range from $25.00 - $50.00 per article."
For more information see Western Mass Craigslist.
For more information see Western Mass Craigslist.
Wednesday, February 15, 2006
Call for Essays: Greece, A Love Story
This call just arrived in my e-mailbox yesterday from Camille Cusumano. She's editing a new volume titled Greece, A Love Story: Women Write About the Greek Experience. Like preceding volumes (on France, Italy, and Mexico), this one will be published by Seal Press. Here's the info (which you can also find here):
CALL FOR SUBMISSIONS:
GREECE, A LOVE STORY
Women Write About the Greek Experience
Slated for Spring 2007
Greece evokes a richly embroidered tapestry of images, from old monuments rife with history to idyllic isles of glass-blue sea and blinding white stucco dwellings. The ancient Greeks, as well as the contemporary, permeate our Western culture with the unparalleled gifts of beauty and wisdom they left behind: classical literature, mythology, philosophy, rhetoric; a mind-stirring history and civilization; and a language that is musical and expressive of emotions/ideas not reflected in other languages. Vestiges of their artistic genius are huge and imposing: Greek temples, marvels of architecture such as Athens's Parthenon and Acropolis, gracefully sculptured statues, delicate pottery. Greece, it is said, is where “art became inseparable from life.”
We are looking for twenty to thirty essays to fill this collection on the Greece that lies behind postcards. We would like personal stories that go beyond the practical travel guide and that embrace more “literary” travel writing, from writers who have been deeply affected by the country. Writers will demonstrate that they have had some kind of love affair with the country, whether with its people, cities, islands, food, history, art, or culture.
For examples of the various styles of writing that will work for this collection, see essays in the books already published in the “Love Story” series—on France, Italy, and Mexico. As with these anthologies, Greece, A Love Story will embrace every angle of love—whether of place, people, food, culture, or art—and the stories will capture the experience that changes, teaches, enlightens the author-and by extension the reader.
We are looking for strong narratives, excellent first-person writing, good storytelling, and diverse voices. Personal style and humor are encouraged.
EDITOR: Camille Cusumano was an editor at VIA Magazine in San Francisco for 17 years. She is the author of many food and travel articles and several books and the editor of France, A Love Story, Italy, A Love Story, and Mexico, A Love Story.
PUBLISHER: Seal Press, an imprint of Avalon Publishing Group, Inc.
DEADLINE: May 1, 2006
LENGTH: 2,500 to 5,000 words
FORMAT: Essays must be typed, double-spaced, and paginated. Please include your address, phone number, email address, and a short bio on the last page.
SUBMITTING: Electronic submissions are preferred. Send essay electronically as a Word or Rich Text Format file (with .doc or .rtf extension) to CAMILLE CUSUMANO at ocaramia@earthlink.net. Put GREECE A LOVE STORY in the subject line. If email is not possible, mail the essay to CAMILLE CUSUMANO, Seal Press, c/o Denise Silva, 1400 65th Street, Suite 250, Emeryville, CA 94608. Please direct any inquiries to ocaramia@earthlink.net.
PAYMENT: $100
REPLY: Editor cannot reply to every submission personally. Please allow until July 31, 2006, for a response. If you haven't received a response by then, please assume your essay has not been selected.
CALL FOR SUBMISSIONS:
GREECE, A LOVE STORY
Women Write About the Greek Experience
Slated for Spring 2007
Greece evokes a richly embroidered tapestry of images, from old monuments rife with history to idyllic isles of glass-blue sea and blinding white stucco dwellings. The ancient Greeks, as well as the contemporary, permeate our Western culture with the unparalleled gifts of beauty and wisdom they left behind: classical literature, mythology, philosophy, rhetoric; a mind-stirring history and civilization; and a language that is musical and expressive of emotions/ideas not reflected in other languages. Vestiges of their artistic genius are huge and imposing: Greek temples, marvels of architecture such as Athens's Parthenon and Acropolis, gracefully sculptured statues, delicate pottery. Greece, it is said, is where “art became inseparable from life.”
We are looking for twenty to thirty essays to fill this collection on the Greece that lies behind postcards. We would like personal stories that go beyond the practical travel guide and that embrace more “literary” travel writing, from writers who have been deeply affected by the country. Writers will demonstrate that they have had some kind of love affair with the country, whether with its people, cities, islands, food, history, art, or culture.
For examples of the various styles of writing that will work for this collection, see essays in the books already published in the “Love Story” series—on France, Italy, and Mexico. As with these anthologies, Greece, A Love Story will embrace every angle of love—whether of place, people, food, culture, or art—and the stories will capture the experience that changes, teaches, enlightens the author-and by extension the reader.
We are looking for strong narratives, excellent first-person writing, good storytelling, and diverse voices. Personal style and humor are encouraged.
EDITOR: Camille Cusumano was an editor at VIA Magazine in San Francisco for 17 years. She is the author of many food and travel articles and several books and the editor of France, A Love Story, Italy, A Love Story, and Mexico, A Love Story.
PUBLISHER: Seal Press, an imprint of Avalon Publishing Group, Inc.
DEADLINE: May 1, 2006
LENGTH: 2,500 to 5,000 words
FORMAT: Essays must be typed, double-spaced, and paginated. Please include your address, phone number, email address, and a short bio on the last page.
SUBMITTING: Electronic submissions are preferred. Send essay electronically as a Word or Rich Text Format file (with .doc or .rtf extension) to CAMILLE CUSUMANO at ocaramia@earthlink.net. Put GREECE A LOVE STORY in the subject line. If email is not possible, mail the essay to CAMILLE CUSUMANO, Seal Press, c/o Denise Silva, 1400 65th Street, Suite 250, Emeryville, CA 94608. Please direct any inquiries to ocaramia@earthlink.net.
PAYMENT: $100
REPLY: Editor cannot reply to every submission personally. Please allow until July 31, 2006, for a response. If you haven't received a response by then, please assume your essay has not been selected.
Tuesday, February 14, 2006
Michael and Marylee Fairbanks International Fellowship for African and Caribbean Writers
This is a fellowship a practicing writer told me about last year; another one just reminded me that this year's application deadline is coming up (on April 1), so I thought a post would be a good idea.
The Bread Loaf Writers' Conference Fairbanks Fellowship supports a writer living in Africa or the Caribbean to attend the Conference (which is held in Vermont). "Poets, fiction, and creative nonfiction writers who have published at least one but not more than two books in English within the last four years are eligible." The fellowship includes the Conference fee plus travel expenses. Interested applicants can find out more and download the required forms here. NO APPLICATION FEE.
(Note that financial aid applications for other Conference scholarships/awards must be submitted earlier [March 1].)
The Bread Loaf Writers' Conference Fairbanks Fellowship supports a writer living in Africa or the Caribbean to attend the Conference (which is held in Vermont). "Poets, fiction, and creative nonfiction writers who have published at least one but not more than two books in English within the last four years are eligible." The fellowship includes the Conference fee plus travel expenses. Interested applicants can find out more and download the required forms here. NO APPLICATION FEE.
(Note that financial aid applications for other Conference scholarships/awards must be submitted earlier [March 1].)
Sunday, February 12, 2006
Louisiana English Journal Call for Papers/Pictures
According to its Web site, "the next issue of the Louisiana English Journal will focus on Louisianians' personal stories, observations, and photos of hurricanes Katrina and Rita." Readers are invited to share personal stories, observations, and pictures. "All who experienced these historic storms--whether as tourists or residents or students--are invited to submit their true stories, poems, and pictures to LEJ. Displaced students and other south Louisianians are especially encouraged to submit their stories."
Cash prizes ($20-$30) will be awarded in several categories. Submit your stories and poems by May 15, 2006; art and pictures by June 15, 2006. No fee. Find more information and the required Official Entry Form here.
(via AbsoluteMarkets)
Cash prizes ($20-$30) will be awarded in several categories. Submit your stories and poems by May 15, 2006; art and pictures by June 15, 2006. No fee. Find more information and the required Official Entry Form here.
(via AbsoluteMarkets)
Thursday, February 09, 2006
Short Story Checklist
Found Sally Zigmond's checklist detailing attributes of a short story over at the Quality Women's Fiction Web site. Check it out and share your reactions here. (Which elements do you find "true" for your own approach to writing a short story? Which do you find less useful? Why?)
Tuesday, February 07, 2006
Zoo Press: Not Again!
Let me preface this by saying that I believe in writing contests. Yes, there are some bad apples out there, but that doesn't mean we should ignore the whole bunch. One of the bad apples, though, seems to be a repeat offender. I'm talking about Zoo Press.
I'm far from a disinterested observer here. I entered both Zoo Press fiction contests once upon a time. If you need a refresher on how that turned out, read this piece by Thomas Hopkins (it was published back in 2004 in Poets & Writers magazine).
Now Zoo is in the news again. This time it's the poetry contest that's in trouble. I found out about it from the Emerging Writers Network . Click here to find out more.
I'm far from a disinterested observer here. I entered both Zoo Press fiction contests once upon a time. If you need a refresher on how that turned out, read this piece by Thomas Hopkins (it was published back in 2004 in Poets & Writers magazine).
Now Zoo is in the news again. This time it's the poetry contest that's in trouble. I found out about it from the Emerging Writers Network . Click here to find out more.
Monday, February 06, 2006
Outdoor Life's 2006 Ultimate Adventure Contest
So here I am back at the blog. And I've found an interesting contest with a March 1 deadline. There's no entry fee (too bad I didn't locate this before the January update of our Guide to No-Cost Literary Contests and Competitions.)
Anyway, the 2006 Ultimate Adventure Contest seeks "your wildest hunting tale, craziest fishing adventure or the most hair-raising survival experience you've ever had (in 750-1,000 words) and we'll see which writer captures the spirit of spine-tingling adventure best." The winning piece will be published in Outdoor Life, and its author will receive $500. Runners-up will have their entries published on the magazine's Web site.
You can submit via e-mail or postal mail. Just be sure to submit by March 1.
For more information and the official rules, click here.
Anyway, the 2006 Ultimate Adventure Contest seeks "your wildest hunting tale, craziest fishing adventure or the most hair-raising survival experience you've ever had (in 750-1,000 words) and we'll see which writer captures the spirit of spine-tingling adventure best." The winning piece will be published in Outdoor Life, and its author will receive $500. Runners-up will have their entries published on the magazine's Web site.
You can submit via e-mail or postal mail. Just be sure to submit by March 1.
For more information and the official rules, click here.
Thursday, February 02, 2006
The Writer's Online Poetry Spotlight
OK, so I'm posting one more time before signing off for a few days. This just came in to my e-mailbox, and I wanted to spread the word.
"Poets are invited to submit a poem for The Writer's Online Poetry Spotlight. One poem per spotlight session will be selected for expert critique by several award-winning poets. Each session will be online for about one month. The critique will include suggestions as well as comments citing the poem's strengths. Guest poets will address form, poetic devices, sound, sensory elements and style, and will offer purely constructive comments."
You need not be a magazine subscriber to submit. Poets whose work is selected for critique will receive a one-year subscription to The Writer. The best Spotlight submission posted on the magazine's Web site in 2006 will receive $100.
Submit one poem by March 1; the first poem and critiques will be posted in the "premium subscriber" forum area of the magazine's Web site by April 1, 2006 (in time for National Poetry Month).
See the full announcement for more information and submission instructions.
"Poets are invited to submit a poem for The Writer's Online Poetry Spotlight. One poem per spotlight session will be selected for expert critique by several award-winning poets. Each session will be online for about one month. The critique will include suggestions as well as comments citing the poem's strengths. Guest poets will address form, poetic devices, sound, sensory elements and style, and will offer purely constructive comments."
You need not be a magazine subscriber to submit. Poets whose work is selected for critique will receive a one-year subscription to The Writer. The best Spotlight submission posted on the magazine's Web site in 2006 will receive $100.
Submit one poem by March 1; the first poem and critiques will be posted in the "premium subscriber" forum area of the magazine's Web site by April 1, 2006 (in time for National Poetry Month).
See the full announcement for more information and submission instructions.
Web Wanderings
I may not be posting much for the next few days, so to tide you over until next week I'm sharing a few announcements/posts I've recently found:
1) Chicken Soup for the Kids Soul 3, "a compilation of fun, inspiring stories for kids ages 6-10," is looking for submissions. Deadline: May 12, 2006. Payment: $200. Read more here.
2) Internews Network and the National Bank of Greece announce the 2006 Greek Cultural Fellowships. "This year's program is designed to provide U.S. based journalists with a unique opportunity to travel to Greece for a one-week information gathering visit focusing on the transformation of Greece and Greece's role internationally following the successful 2004 Olympics." 12 journalists will win one-week travel grants. To learn more about this program (which seems to be open to freelancers) and download the application form, click here.
3) Finally, Venues Today, a California-based trade publication, seeks stories on Italian venues and events (especially for the upcoming Olympics). Pays $100 per news story and $250 per 1,200-word trend feature. See the craigslist post for more information.
1) Chicken Soup for the Kids Soul 3, "a compilation of fun, inspiring stories for kids ages 6-10," is looking for submissions. Deadline: May 12, 2006. Payment: $200. Read more here.
2) Internews Network and the National Bank of Greece announce the 2006 Greek Cultural Fellowships. "This year's program is designed to provide U.S. based journalists with a unique opportunity to travel to Greece for a one-week information gathering visit focusing on the transformation of Greece and Greece's role internationally following the successful 2004 Olympics." 12 journalists will win one-week travel grants. To learn more about this program (which seems to be open to freelancers) and download the application form, click here.
3) Finally, Venues Today, a California-based trade publication, seeks stories on Italian venues and events (especially for the upcoming Olympics). Pays $100 per news story and $250 per 1,200-word trend feature. See the craigslist post for more information.
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