Notches on the Bedpost: Unexpected Lessons Learned from Submitting Writing to LitMags Every Day

Notches on the bedpost - scratches on the back.

Earlier this summer, I was inspired by the devilish number 66 on a list of The 100 Best Ways to Become a Better Writer.  Rack up rejections.  The phrasing and sentiment behind the idea played over and over in my mind and I was captivated by it.  I started imagining pieces of my writing marching out into the world dressed to the nines in their Saturday night best, and returning home (accepted or not) to put another notch on the bedpost.  Perhaps they would have short-lived flirts with editors who didn’t want to take them home, or one night stands with litmags where they weren’t accepted but, hey, at least they were being read, even if only ephemerally.  Or maybe they’ll find the editors of their dreams and fall in love together, being read again and again, put into print to show the permanence of their mutual devotion.  In any case, they were going out, having a good time, and meeting some new people.

So, I encouraged myself to bring these absurd reveries to fruition by setting a challenge for myself.  In the month of July, I would submit work to one literary magazine every day.  I called it Submission Bonanza! (and yes, the exclamation point is quintessential – I’ll take it as one of my five) because it was by far the most submitting I’ve done, ever.  I’m a little more than halfway through my challenge and I’ve learned quite a bit from it. I’ve learned some basic, practical, and incredibly necessary skills, like how to write a cover letter for my work or what to include in my author’s bio (look out for posts on these in the future).  But I’ve also learned some things that I didn’t quite expect to learn.

1. I’ve been introduced to more contemporary writers and magazines.

In trying to decide which pieces to send to which magazines, I’ve been doing a lot of reading.  In this digital age, a lot of literary magazines have either full issues or teaser bits and pieces of issues on their websites.  Thankfully, I’ve not had to buy year-long subscriptions of every magazine I’ve submitted to (I am a poor grad-student-to-be, after all) in order to see what kinds of writing might be a good fit for the magazines.  The interesting thing about all of the reading I’ve been doing is that it is very contemporary.  It’s very now.  Though I love me some Pablo Neruda or Sylvia Plath, they have become quite canonized.  It’s incredibly interesting to read what people are writing now.  It’s also really useful to get to know the magazines and publishers that are working with these things.  You can see the magazines I’ve been submitting to at the original post about the challenge and read what they’ve been publishing.

2. I’ve become a better reader.

All of these pieces I’ve been reading, I’ve been reading incredibly closely and critically.  I don’t think “Gee, that poem makes me feel… (warm, angry, fuzzy, whatever).”  Because I am reading to find out what editors might like in my own writing, I have to ask myself a myriad of questions about everything I read.  What did the editors like about that piece?  What does it have in common with the other pieces that were chosen? How does it compare to pieces I’ve written?  Reading critically like this has forced me to turn the same discerning eye back on my own writing, which brings me to…

3. I’ve been motivated to edit more.

We’ve all heard the mantra again and again about how important editing is.  And yeah, I know it’s important.  But usually when I write, I become inspired and it takes off on it’s own.  It’s like I’m being filled with some spirit that’s vomiting words on the page that are beautiful and make me cry and the muse has me speaking in tongues and finally when I finish I am exhausted.  I feel good, sure.  But I also feel done.  Reading the works published in some of the magazines I’ve read feel so polished, though, so purposeful.  In some ways very different than the literary upchuck that I produce in my frenzied first drafts.  Don’t get me wrong, I love my writing as if it were my little children, but children need to be raised and tended, nurtured and loved.

4. I feel part of the writing community.

Ok, I know. My work is not being published alongside Billy Collins and I am not sharing martinis and discussing themes of displacement in literature with Salman Rushdie (yet).  But there’s something about just having your writing out in the world (even if it’s not being published – just having it out), that makes me feel like I am part of the community of authors trying to make sense of the world in words.  If all literature is in conversation, I feel like just by submitting work to magazines, I am becoming part of the conversation.

5. I am more inspired to write.

Perhaps most importantly, the more I read and submit, the more I want to write.  In this exercise of trying to get something out there every day, I find myself wanting more writing that I can put out there.  It’s been like a soaring spiral on updrafts of wind.  I am reading more, I am editing more, I am thinking more, and I am writing more.

I haven’t heard back from the literary magazines yet.  That should come as no surprise as some of them have reading periods of up to six months and so far, it’s been a measly seventeen days since my first submission.  So, I don’t know yet if this Submission Bonanza! will be a successful endeavor in terms of getting published.  But I do know it has been incredibly successful in furthering my development as a writer.

And to think, I’m only halfway through.

Thanks so much to http://debitch.tumblr.com/ for the incredibly apropos photo.

Submission Bonanza!: Racking up Rejections, or 30 LitMags in 31 Days

I found this thought-provoking post the other day about The 100 Best Ways to Becoming a Better Writer on thecopybot.com.  Some of them are interesting ways to meet characters, such as “74. Sell insurance, cars or newspapers face-to-face for two months.”  A lot of them are imaginative and funny.  Some of them are just things you know you need to do, like “3. Write over a thousand words a day.”

But the one that really stood out to me and inspired me most was Number 66.

Rack up Rejections.

I haven’t been doing a lot of this.  I haven’t really been doing any of it.  In the past 10 years, I’ve maybe submitted work to 5 literary magazines.  At this rate, all my writing will sit quietly on my computer and collect digital dust until I die or my computer dies, and either way it will be lost forever. (Note to self: remember to back up hard drive.)

That’s not really how I’d like it to go.

I write because I care about inspiring people, about connecting with people in a more meaningful way than normal day-to-day conversation allows.  That’s not gonna happen if everything I write remains for-my-eyes-only-on-my-measly-little-laptop.

So, I’m challenging myself to rack up rejections this month.

So, self:

Put yourself out there, knowing that you will get lots of rejections.  Not everyone likes to read what you like to write and that’s ok.  Think of each rejection as a battle scar, a symbol that you’re fighting the good fight, getting closer to being who you want to be.

So here’s the plan:  I’ll be submitting work to 30 LitMags this month, one for each day (with one day off, just to make the number round!).  To try to keep myself honest, I’ll be posting them here as I go.  Feel free to join me!

Aaaaaaaand, we’re off!

1: Fourteen Hills

2: Flash Frontier

3: The Round

4: Bat City Review

5. Swine Magazine

6. The Minetta Review

7. Camroc Press Review

8. Black Warrior Review

9. smoking glue gun

10. The Journal

11. The McNeese Review

12. Mid-American Review

13. Front Porch Journal

14. Exegesis

15. Columbia

16. Yemassee

17. Clarion

18. The Southeast Review

19. Silk Road

20. The Portland Review

21. Reed Magazine

22. The Louisville Review

23. The Coachella Review

24. Rio Grande Review

25. Saw Palm

26. Switchback

27. Camera Obscura

28. Northwind Magazine

29. Slice Magazine

30. Post Road Magazine

Bahamian Prism (Eleuthera. Summer 2013)

The day started lazily enough, perched on a cliff overlooking a rainbow bay.  From the shore the water reached out in gemstone tones: amber to emerald, jade to aquamarine, turquoise to lapis lazuli, sapphire to amethyst.  All shining in mid-morning light.  The progression of treasures made me wonder if just over the horizon amaranthine gave way to garnet and ruby: a hidden red ocean just further than my eyes could reach.

But before long, the sun was gone and the colors muted. In Hatchet Bay Caves, we became explorers.  Bats hung in the mouth of the cave, twitching as we disturbed their sleep.  The guano on the ground flagged the territory as theirs.  Along the walls of the caves, visitors before us also marked their places as well: in guano, in spray paint, in mud, in tar, letting us know who “wuz here” in a desperate attempt at immortality.

We pushed further into the cave, where even bats and tourists did not go.  Stalactites cried tears at their separation from their partners, as the stalagmites reached up to caress and comfort them.  Ribbons of rock adorned the walls and mimicked the waves of the ocean above.

In the silent darkness, skulls and bones hid.  Lucayan remains playfully ducked out of sight, snooping around corners for a better look, but not wanting to scare off the livers.  Femurs shushed collar bones and trails of spines lined up to take a peek.

Above our explorations, brittle stars hugged tightly to the sea bed, feeling the rumblings from underneath.  A large, maroon crab scuttled out of its own cave, afraid it had woken something beneath.  Scallops jiggled on the sea grass and tulip shells paused in the sand, listening to the tremors below.

A lightless sunset of golden lines, tawny rays, tangerine grooves, copper streaks, and crimson stripes gave way to amber.  In these caves, the rainbow was complete.  As we made our way out, our eyes were shocked with all the colors at once: a hot white light in a cloud white sky.

 

First Day of Freedom (Eleuthera. June 2013)

 We headed north, or ‘down island’  as it’s called on account of the flow of the Gulf Stream along the Atlantic coast of this giant sand bar.  We floated in the direction of the current, along the lone road, over 100 miles from whale’s tail to sea horse head.  We stopped to ogle an out-of-place-out-of-time limestone castle in Tarpum Bay.  Its white, bleached surface reflected the sun and shells of thousands of years, so different than the grey-stone castles of kings.  Instead it was brittle and crumbling in the tropical sun, as if the rays had been laying siege to it since time could remember. The ghosts of junkanoos past and funeral processions marched silently by.

Further up or down, depending on how you looked at it, we ran into a farm stand.  The passion fruit swung languidly and low, heavy but still green with expectation.  The passion flowers had fallen away and left pregnant sweetness in their wake.  Guava jams nestled up to spicy jerk on the shelves and rocket leaves poked their heads from farm baskets to watch the sweet and spicy tryst.  It was too hot for cilantro.

We passed airport after airport after airport, past cars and boats and planes.  With luggage strapped to the roof, we passed miles of aquamarine waters.  Atop Glass Window Bridge, we paused on limestone cliffs to say hello.  To our left, the Caribbean frolicked, a playful turquoise-peacock-chartreuse.  On the right, the Atlantic deepened to a cobalt-navy storm.

We pressed on, bent on finding a beach that would rival the southern tip of the island.  Lighthouse Beach had always been an old family favorite, but we were greedy for more: for pinker sands, and clearer waves, for brighter fish, and palms that sashayed to the beat of breezier winds. “The one that looks least like a road,” were the instructions we had been given and we found the reddest, most fertile dirt on an island of sand.  Mango and avocado trees pushed up against fences to see what the intrusion was all about.

Hidden behind the orchard, we found our prize.  It was nestled in a tiny cove, carved out of coral skeletons.  It was as if the land were looking back at itself, marveling at the way its body contrasted with that of its lover, the sea.  Along the beach were the remains of island barbecues and romantic sunsets, chairs and tables set as if the ghosts of explorers past still sat in them, soaking up the sun and caressed by sands in the breeze.  A steady parade of yachts sauntered by, en route to Harbour Island, oblivious to our splashes in the waves.

Thundering clouds winked lightning as they passed and left us to swim.  Beneath the waves, the island began.  Amongst grass and trees, baby sergeant majors were schooled.  Damsel fish picked daintily at their dishes of afternoon coral and bait crowded around, clouding the water.  Further on, shallow forests of fluorescent sea fans undulated in unison, enticing the waves to grow.  It wasn’t long before the afternoon sun had us beat and the heat of the air overpowered the once-were-iceberg waters of the Atlantic.

We left five sets of footprints in coral-pink sand and five shadows of sitters-on-stumps.  Like those who came before us, we became ghosts on the shore. 

Cicadas (Thailand. Rewrite)

 

 

 

She could hear his abdomen, even from eight stories above. She knew he waited for her, dressed in new skin holding the bark of a mango tree. For thirteen years, she had dug and hid, dug and hid, a pale pearl of a nymph sheltered in flooding clay. Prematurely buried. She had fed on rootjuice and waited.

And now, the time for burying herself had gone. She no longer wore the tough soil skin of the past. The brightness of being was nearly unbearable. She was green and larger than herself.

She sat exposed, mesmerized by the equatorial sunlight and the sound of his clicking ribs. She could see him from here, just a speck, but she could tell even at this distance that he looked back at her. Through her ten eyes, he was a kaleidoscope of rounded cicada flecks, mirrored and moving in unison, calling her to the ground.

And then a closer sound. Behind her, ten of the same dark-haired girls with lightning eyes and cloud-colored skin reached a catastrophic finger in her direction.

She heard him again, dry-fly ribs rubbing together to blot out the sounds of metropolitan traffic and children. The vibrations called to her.

She looked down at the expectant mango tree and imagined the future she would create: millions of shimmery nymphs sprinkling from the branches, raining onto the soil below, christening the ground with their sparkling selves.

There was nothing for her to do now, except let go.

 

 

Back in the day, I wrote about submitting some of my flash fiction to Flash Frontier.  This rewrite of my original post was published in Flash Frontier’s November Issue, Eye Contact.

 

Also, I’d like to reiterate my Creative Commons love to Flickr user Roger Smith for the amazing photo!

Sharing: The Secret by Denise Levertov

I just wanted to share a poem that really got to me today. Enjoy!

 

The Secret

by Denise Levertov

 

 

Two girls discover

the secret of life

in a sudden line of

poetry.

 

I who don’t know

the secret

wrote the line. They

told me

 

(through a third person)

they had found it

but not what it was

not even

 

what line it was. No doubt

by now, more than a week

later, they have forgotten

the secret,

 

the line, the name of

the poem.  I love them

for finding what

I can’t find,

 

and for loving me

for the line I wrote

and for forgetting it

so that

 

a thousand times, till death

finds them, they may

discover it again, in other

lines

 

in other

happenings. And for

wanting to know it,

for

 

assuming there is

such a secret, yes,

for that,

most of all.

My First Alaska (Summer 2005)*

It started with the lake

and the spruce trees leaned

in for a better look.

My toes wandered

into the water,

which threw out

glacial-silt blue

and reflected a grey sky.

Toes exploring further,

ahead of myself so that

the snow-born water crept

up my legs and I was soon

on my back.

Mushrooms popped tops

of heads up through

moist dirt to peep.

My toes led the way,

becoming glacial themselves

as the Alaskan current

carried me out of the lake and to

the river.

I flowed.

Mist began to fall

and I became

a blue totem:

beaver knees,

eagle mound,

moose-antler breasts,

grizzly-bear hair.

My skin crystallized,

forming snowflake stars

over my fingers,

shins,

then finally

my middle.

Cracked.

As a close summer sun

came out

my blue star

skin melted

and I became the Kenai.

*As I was packing and preparing for my move, I found this little number that I had written my first time in Alaska.  Revisiting it after 8 years, I can see quite a few revisions I would want to make, but I wanted to post it in its original.   I’m wondering how my impressions and experience of Alaska this time around will compare with my memories.

Arachne

I don’t remember a time before I wove. I grew up in the fields, alongside my father and sheep.  There was never a mother around to birth me, nor was there any explanation given. My father had only the wool of his sheep to keep his bed warm at night.  He was known far and wide as the man with the purple flock, but this was a myth.  The truth was much stranger. 

Our sheep were the same muddied grey as the neighbors’.  The difference in the wool came from my father.  Alone at night, he would sit over the wool, refining and spinning it.  With his hands on the spinning wheel, tears would begin to fall, as if summoned by the whirring of the wheel.  As his feet pressed down, my father cried amethysts: tiny, shimmering mulberry tears which landed perfectly every time onto the rough yarn, turning it the color of violets and royalty, of pomegranates and jewels.  It was a color nature couldn’t keep and man wanted to grasp.

It was in this house that I learned to weave.  It seems I must have learned and yet… My father does not touch the loom.  He avoids it with a deathly fear.  I sometimes wonder if in playing with it as a toddler, I intuited how to use it.  Maybe it’s a skill deep in my blood that I inherited from my absent mother. Perhaps it’s older than that.

My days were always the same growing up, and yet they were never boring.  In the mornings, I would wake my father and we would tend to our dingy-cloud sheep, me, frolicking with the animals and him napping under trees.  He would cook us dinner and put me to bed and then begin his nightly ritual.  He would sob purple until piles and piles of luxuriant yarn lay in our kitchen.

It’s no wonder that he raised a daughter with amaranthine hair and orchid eyes.  It’s as if I were woven from the amethyst yarn.  And I always thought of myself that way, not born of a mortal, but as if I wove myself from magical tear-stained wool of my father.  Related to him, but not his.

It wasn’t long before I was using his salty, brilliant strands to weave intricate textiles. Each tapestry was a story I’d never heard, the detailed faces of goddesses and men looking out from it, caught in action.  More than just patterns or fractals, my weaving created whole worlds.  And being the daughter of a shepherd whose wool was already the talk of the town, it did not go unnoticed.  Merchants came to marvel. Princes came to purchase. Even nymphs took notice.  I will admit, with my father’s tinted tears and my nimble fingers, I felt that I was a god.

So I was not surprised when She showed up.  She came with a motherly demeanor and a proposal of competition.  I was stunned by Her, taken with Her owl eyes and glowing hair.  Though I knew it could not be true, I felt drawn to Her, as if She were the mother I’d been missing.  I saw myself in the creases of Her fingers and protrusion of Her chin.

“You’ve grown haughty, my child,” and I knew it was true.  But I wanted to show Her what I could do.  I wanted to make Her swell with pride at the fabric I spun.

She had brought Her own loom, and it sat immaculate in our sooty shepherd’s shack.  It seemed to shine and quiver, like everything She touched.  I yearned to tremble and sparkle in that way.  She sat and plucked at the strings, as if playing an instrument. She nodded at me to take my place behind my own loom and follow in suit. I started on my tapestry.  I could hear the strands under Her fingers sing as She strummed them wildly.   I dared not look up.  My eight fingers crawled over the loom, savagely spinning stories.  I worked faster and harder than ever before, until sweat dripped from my face, tiny black diamonds falling from my forehead into the pupils of characters I did not know, bringing them to life.  I could hear Her beside me, making Her loom cry out in a frenzied chant.  The narratives I wove became more detailed, more real, worlds within themselves.  Each thread held the vibrations of a universe and I could feel them all beneath my fingers, until I could no longer take the sensations: the sounds, the sights, the reverberations.  As I pushed the last strand into place, everything stopped.

I awoke to Her anger.  She stood over me, not with the concern of a mother, but with the fury of a god.

“The insolence…” She began, and my gaze followed Her golden finger to the two tapestries hanging side by side on the wall.  One, gleaming and golden, showed the glory of the pantheon.  Zeus threw thunder.  Poseidon’s trident created the very oceans.  Athena Herself inspired civilizations.  Mortals came from far and wide to leave gifts for the gods.  The other tapestry was beautifully dark with the gems of my sweat.  Zeus was a horny swan.   Dionysus could barely stand up.  And Athena aged a lonely virgin.  Along the edges, mortals glowed with eyes that were alive, that held the promise of death and passionate urgency of life.  They looked stunning and ephemeral and heavenly next to the gods.

I could feel Her boiling next to me and She flew at my tapestry, ripping it to shreds.  It was gone in an instant, tatters flying around the room as if it snowed tiny snippets of the stories I had spun.  Just as quickly, I felt a slap across my face and She was gone.  I was too shocked to cry.

I might have sat there for days, staring at Her weaving and at the tiny scraps of mine.  My father never came back.  I did not feel remorse, or hurt, or sadness.  I felt nothing, and that is why I did what I did.

It was She who found me, swinging from my father’s purple yarn, neck snapped and breathless.  Had She come back for Her masterpiece?  Had She felt remorse? Was She looking for me?  She took me down and cradled me in Her arms, holding me to Her chest, as if I were a babe sleeping.  I suspect She may have even cried.

She laid my limp body on the floor and held Her hands over me. “You’ll spin forever,” She chanted, again and again.  My chest raised up and my body became full and round. My eight spinning fingers grew long, longer than my body, longer than legs.  She kept chanting.  My eyes bulged, doubled and doubled, into iridescent black diamonds.

Now I am the mother I never had.  I call my children to me, black widows and wolves, funnel-webs and jumpers.  They gather round me and keep me company and I teach them to weave.

“You’ll spin forever.”  It was all I’d ever done, what I was born to do.

This post is the first in a series I am working on.

Creative Commons love to shelley1968 from flickr for the awesome photo.

Writing Challenge: When the Goddesses Come Out

 

 

Nymphs, goddesses, apsaras, maenads!  It’s May.  There’s a fresh exhilaration in the air.  Mother’s Day is coming up.  I have been incredibly inspired by all those bloggers who did the A-Z blogging challenge in April.  These things all fit together nicely in a little challenge that I am setting for myself.  This month, I am endeavoring to write about 26 strong, creative women from mythology.  So, the goal is to write 26 short stories, one based on a female mythological figure for each letter of the alphabet.  Feel free to join me, or to set your own goal for this month.  New growth and new beginnings are in the air!

 

A special Creative-Commons “Thanks!” to itjournalist from flickr for the photo!