Well, not enough anyway. I stop in periodically and see numerous posts I'm interested in, then try to read the ones I'm most interested in based on the subject. Because...
I'm rewriting the ending of the novel I've been working on, and I'm editing for two magazines (Swill and Monday Night), the former of which is reading submissions right now (www.swillmagazine.com for guidelines, etc.), the latter having moved on to the editors talking about which submissions we're going to accept.
So far, none of those things are financially profitable. As I have a wife and two kids, there is a whole lot of other time going to a job that generates income and to spending time with family.
Oh, and I'm beginning to suspect my next car repair may involve a shotgun.
I know this doesn't matter to that many people, but to the people who read this blog: hey, that's why I may not have commented on a post that would have interested me had I read it. If you've posted something and want my opinion, let me know. If you're someone who doesn't have my email address, send something to editors@swillmagazine.com and I guarantee I'll look at it. However spammy you may appear.
This thing where life is finite just fucks with my schedule. Off to work on novel, ignoring several recent blog posts that interest me. Cheers all.
Showing posts with label editing. Show all posts
Showing posts with label editing. Show all posts
Friday, January 22, 2010
Saturday, April 25, 2009
WRITERS VERSUS EDITORS
I suppose some editors are failed writers - but so are most writers. – T.S. Eliot
The relationship between writers and editors should not be adversarial. As someone who’s spent a lot of time on both sides of that relationship, I’m certain that there are many good people out there who just don’t have time for more than a form letter. I often consider myself one of those people. I’m also certain there are many editors from whom I should be grateful that the form letter is the only dealings I’ve ever had with them. That assumption is based not on any run-ins I’ve had with editors, but on my general cynicism toward the human condition.
As an editor, presumably the idea is to get the best writing possible from people whose writing you like. As a writer, presumably the idea is to get your work published in the best condition possible. That last phrase is often where writers and editors come into conflict.
As co-editor of two small magazines, Swill and Monday Night, I have suggested quite a few line edits over the last few years. This occurs especially with Swill, which is my baby (although Sean helps me raise it) and has something resembling a specific direction. It’s a genre fiction literary magazine, or some such thing. (Check the excerpts at swillmagazine.com – we have published a wide variety of story “types,” and my favorites among them fall within all the categories, where they can even be categorized.) Regardless of the labels, I want the magazine to be as good as possible, which means suggesting edits. Writers do not agree with all my suggestions, and I’d probably be appalled if they did. The idea, after all, is to improve their story, not take it away from them. And I only make these suggestions if I am interested in publishing the story in the first place. As this suggestion process generally occurs after the story has already been accepted, the writer wins all arguments anyway.
Of course, sometimes the writer must wonder what the hell the editor is thinking, as witnessed by poet Frederick Seidel, who told this story about one of his first major publications, in The Hudson Review, in a recent New York Times Magazine.
“I got back a letter from the editor saying that the poem was brilliant… but wouldn’t I consider a number of changes they wanted to propose to the poem’s advantage? So I took a look at their suggestions, hung onto the poem and three months later sent it back to them – no changes whatsoever. Back came a note saying: ‘Wonderful! That does it! It’s just superb.’”
And yes, I feel fully capable of being that editor.
The relationship between writers and editors should not be adversarial. As someone who’s spent a lot of time on both sides of that relationship, I’m certain that there are many good people out there who just don’t have time for more than a form letter. I often consider myself one of those people. I’m also certain there are many editors from whom I should be grateful that the form letter is the only dealings I’ve ever had with them. That assumption is based not on any run-ins I’ve had with editors, but on my general cynicism toward the human condition.
As an editor, presumably the idea is to get the best writing possible from people whose writing you like. As a writer, presumably the idea is to get your work published in the best condition possible. That last phrase is often where writers and editors come into conflict.
As co-editor of two small magazines, Swill and Monday Night, I have suggested quite a few line edits over the last few years. This occurs especially with Swill, which is my baby (although Sean helps me raise it) and has something resembling a specific direction. It’s a genre fiction literary magazine, or some such thing. (Check the excerpts at swillmagazine.com – we have published a wide variety of story “types,” and my favorites among them fall within all the categories, where they can even be categorized.) Regardless of the labels, I want the magazine to be as good as possible, which means suggesting edits. Writers do not agree with all my suggestions, and I’d probably be appalled if they did. The idea, after all, is to improve their story, not take it away from them. And I only make these suggestions if I am interested in publishing the story in the first place. As this suggestion process generally occurs after the story has already been accepted, the writer wins all arguments anyway.
Of course, sometimes the writer must wonder what the hell the editor is thinking, as witnessed by poet Frederick Seidel, who told this story about one of his first major publications, in The Hudson Review, in a recent New York Times Magazine.
“I got back a letter from the editor saying that the poem was brilliant… but wouldn’t I consider a number of changes they wanted to propose to the poem’s advantage? So I took a look at their suggestions, hung onto the poem and three months later sent it back to them – no changes whatsoever. Back came a note saying: ‘Wonderful! That does it! It’s just superb.’”
And yes, I feel fully capable of being that editor.
Saturday, February 21, 2009
I Want To Be Famous Because I'm Great
That is, I have more ego than those who just want to be famous. I want to be famous because I deserve it. Which isn't to say I believe I deserve it yet. Deserving it is what I'm working toward, and yes please I'd like the fame that comes with it. Of course, I'm talking about the amount of fame that a well-known writer would get, which is not the hounded by paparazzi invading my privacy to the point where I should be allowed to shoot them variety. No, I aspire to be known as a writer (and I don't walk around claiming to be one just because I have a few novels in the works. Hell, everyone's grandmother has a few novels in the works. "I could be the next Agatha Christie." No thanks and no I couldn't, Ms. Christie was phenomenally good at what she did and I do something else.)
I can legitimately claim to be an editor on the small press level; we are working on the fourth issue of Swill and the eighth issue of Monday Night, both scheduled for summer publication, and I am proud of what both publications have achieved. Monday Night is more of a shared credit, as it was started several years ago as an off-shoot of the writers group I was in at the time. The number of editors has gradually dwindled to two, with Jessica's focus primarily on poetry and mine primarily on fiction; Sharon, who used to be one of the editors, does all the artwork and layout. And although a version of that writers group still exists, none of us who work on the magazine are in it.
Swill is more specifically mine. To a large degree it was my wife's idea, as she told me I should stop grousing if Monday Night wasn't doing everything I wanted it to do. Also it was her idea that I involve Sean. Swill owes a lot to the writing of Delphine LeCompte. Delphine has a lot of stories on line and I'm a big fan. She submitted stories to Monday Night and I was the only editor who liked them, and I loved them. There was a story of hers that was being considered for Monday Night and it got published elsewhere. Delphine and I exchanged numerous emails; I really wanted to publish her. And I wanted to publish fiction that didn't fit in the so-called "literary" magazines. I had fiction of my own that didn't seem to be marketable at all; I thought it was literary fiction but the literary fiction markets dismissed it as "genre." After a few years of this I came to the realization that what these markets considered literary I considered boring. They were rejecting me not because I wasn't good enough but because I wasn't part of the program. Whereas I'd been thinking they should publish me because my stories were so obviously superior to what they were receiving.
I guess Swill publishes the work of writers who don't do what they're supposed to. I like stories and I hate epiphanies because in real life there's action and there aren't epiphanies. In real life of course there's tons of boredom too, but that doesn't justify the stories that replicate those scenes. I really hate writers. Not all, but maybe all the ones who call themselves writers. I mean, unless that's what you do for a living, but so much writing is self-absorbed and why should I care about another person when I'm self-absorbed myself?
So Swill has gotten one terrible review from a zine press, one decent review from a litzine review magazine (I disagreed with their criticisms but it was fairly written, ran excerpts from a few stories, and clearly expressed the reviewer's prejudices, which I actually found impressive) and have had nice things said about us by Harlan Ellison. Let me rephrase that:
HARLAN ELLISON LIKES US! FUCK EVERYONE ELSE!
Because Harlan Ellison was one of three writers specifically mentioned on the back cover of the first issue of Swill. It was a note about literary fiction, which I said we like, but we think literary fiction includes Harlan Ellison and James Ellroy. (The third author I mentioned was Shakespeare - he included a lot of violence and humor in his work, yet some of the critics put up with him anyway.)
As I don't expect James Ellroy to ever say anything nice about anyone but himself (although maybe he'd like us, since he's one of my favorite writers), and Shakespeare is even less likely to give us a shout, we may have already achieved a chunk of the fame we're seeking.
We want more, of course. We make absolutely no money doing this and we think it's worth something. Issue 4 will be our best yet, and I was quite excited today when I found out that I know someone who knows one of the leading science fiction editors in the world, and he'd be happy to help me contact him. Not that Swill is all sf by any means; out of the 7 stories in the next issue, I think two would fit in that category, four would probably be best classified as crime, and one is a bizarre comic literary fantasy that has nothing in common with the rest of the issue except that it's damned good.
God, like authors aren't obscure enough. What if it turns out I get most famous for editing?
I can legitimately claim to be an editor on the small press level; we are working on the fourth issue of Swill and the eighth issue of Monday Night, both scheduled for summer publication, and I am proud of what both publications have achieved. Monday Night is more of a shared credit, as it was started several years ago as an off-shoot of the writers group I was in at the time. The number of editors has gradually dwindled to two, with Jessica's focus primarily on poetry and mine primarily on fiction; Sharon, who used to be one of the editors, does all the artwork and layout. And although a version of that writers group still exists, none of us who work on the magazine are in it.
Swill is more specifically mine. To a large degree it was my wife's idea, as she told me I should stop grousing if Monday Night wasn't doing everything I wanted it to do. Also it was her idea that I involve Sean. Swill owes a lot to the writing of Delphine LeCompte. Delphine has a lot of stories on line and I'm a big fan. She submitted stories to Monday Night and I was the only editor who liked them, and I loved them. There was a story of hers that was being considered for Monday Night and it got published elsewhere. Delphine and I exchanged numerous emails; I really wanted to publish her. And I wanted to publish fiction that didn't fit in the so-called "literary" magazines. I had fiction of my own that didn't seem to be marketable at all; I thought it was literary fiction but the literary fiction markets dismissed it as "genre." After a few years of this I came to the realization that what these markets considered literary I considered boring. They were rejecting me not because I wasn't good enough but because I wasn't part of the program. Whereas I'd been thinking they should publish me because my stories were so obviously superior to what they were receiving.
I guess Swill publishes the work of writers who don't do what they're supposed to. I like stories and I hate epiphanies because in real life there's action and there aren't epiphanies. In real life of course there's tons of boredom too, but that doesn't justify the stories that replicate those scenes. I really hate writers. Not all, but maybe all the ones who call themselves writers. I mean, unless that's what you do for a living, but so much writing is self-absorbed and why should I care about another person when I'm self-absorbed myself?
So Swill has gotten one terrible review from a zine press, one decent review from a litzine review magazine (I disagreed with their criticisms but it was fairly written, ran excerpts from a few stories, and clearly expressed the reviewer's prejudices, which I actually found impressive) and have had nice things said about us by Harlan Ellison. Let me rephrase that:
HARLAN ELLISON LIKES US! FUCK EVERYONE ELSE!
Because Harlan Ellison was one of three writers specifically mentioned on the back cover of the first issue of Swill. It was a note about literary fiction, which I said we like, but we think literary fiction includes Harlan Ellison and James Ellroy. (The third author I mentioned was Shakespeare - he included a lot of violence and humor in his work, yet some of the critics put up with him anyway.)
As I don't expect James Ellroy to ever say anything nice about anyone but himself (although maybe he'd like us, since he's one of my favorite writers), and Shakespeare is even less likely to give us a shout, we may have already achieved a chunk of the fame we're seeking.
We want more, of course. We make absolutely no money doing this and we think it's worth something. Issue 4 will be our best yet, and I was quite excited today when I found out that I know someone who knows one of the leading science fiction editors in the world, and he'd be happy to help me contact him. Not that Swill is all sf by any means; out of the 7 stories in the next issue, I think two would fit in that category, four would probably be best classified as crime, and one is a bizarre comic literary fantasy that has nothing in common with the rest of the issue except that it's damned good.
God, like authors aren't obscure enough. What if it turns out I get most famous for editing?
Subscribe to:
Posts (Atom)
