These are the ninth and tenth in a series on Getting Published by Patricia Wellingham-Jones.
ON SUBMITTING POETRY AND SHORT STORIES
Patricia Wellingham-Jones
Published in Writers’ Forum, April 2002
A writer friend said the other day, “This submission thing is confusing. What does an editor mean by previously published? Does that include even a tiny newsletter? How do you decide who to send to since they all want different things?”
Since these questions puzzle many writers, let me clarify the issue.
Most important, you must give the editor exactly what is asked for in the guidelines. Otherwise, your work and/or name will be 1) considered unprofessional, 2) discarded without reading,
3) irritating enough that the editor won’t want to look at it a second time, 4) possibly mentioned unfavorably to other editors (it’s a small world in literature).
Previously published means printed in any public form: a national magazine, a local newspaper, your organization’s newsletter, a regional anthology, online in any format. Reading or singing it in public is not affected here.
What about simultaneous submissions? Again, do what the editor asks. You’re wise to state in your cover letter that the work is being considered elsewhere (no need to say where). The chances of two editors picking the same piece at the same time are remote—but it can happen.
Should you cheat and take a chance? That’s up to you, your personal standards, your willingness to be caught and have those editors lose respect for you.
How do I handle this? I save my best work for the journals I especially like; send first to the unpublished-only demands; look for simultaneous submissions; recycle work after it’s been published to places that don’t mind (and a lot of them don’t, especially if it’s in print first, then goes to an online ’zine). I also send work to contests using the same criteria. If contest or journal guidelines don’t specify, I assume it’s OK to send previously published work.
Remember, a brief and courteous cover letter is always appreciated. Developing good relationships with editors is a smart idea. Include your street and email address for the editor’s convenience. I usually include a brief biography. If they don’t want it, they can toss it; if they do, it saves a step in the process.
Now get that writing out of the closet and into the mail.
END
ON CONTESTS
Patricia Wellingham-Jones
adapted and expanded from “When winners are losers” by Moira Allen
in The Writer, May 2003
Contests can reward excellence in writing, add prestige to a writer’s name, boost his career, help fund literary organizations and journals, and be fun to enter—even more, to win. You can find hundreds of competitions listed online (e. g. , see www. writermag. com, www. writing-world. com, http://groups. yahoo. com/group/conpo). Magazines, writers’ organizations and newsletters provide other opportunities.
Unfortunately, some contests take advantage of writers yearning for prizes and recognition. While not “scams” that take the money without providing the prizes, many contests aren’t quite what they seem to be. Recognizing the difference between the legitimate and the shady can be hard.
An important question to ask is, “What is the fundamental purpose of this contest?” Is it to recognize and reward literary merit? Or is the “award” an advance and possible publication contract? This may be a reading fee thinly disguised as a contest. Other competitions are hosted by individuals simply promoting their services.
The “vanity anthology” contests raise much controversy and criticism. These typically charge no entry fees and offer extravagant prizes. However, their primary goal is to entice entrants into buying the anthology in which their “winning” poem appears. The company claims to select semifinalists on the basis of literary merit, yet no one seems to ever be turned down, thus ensuring a collection of amateur verse. The “winner” is touted in an article provided by the company for the hometown newspaper. Victoria Strauss, vice chair of the Science Fiction and Fantasy Writers of America committee on writing scams, commented in Allen’s article, “because of the poor quality of most of the poems, anthology credits are not respected by publishing professionals. ”
Who are these “vanity anthology” companies? Watermark Press is perhaps the best known, with its International Library of Poetry, Poetry. com, National Library of Poetry, and Birthwrites. Others include Iliad Press, Sparrowgrass Poetry Forum, The National Archives, The Amherst Society, Poetry Press, Poetry Unlimited, JMW Publishing.
Warning Signs
Everyone wins. Without a clear winner, it is not a contest. Make sure that entries are actually judged; be cautious if the sponsor won’t provide information on judges’ identities.
Big entry fee. Typically, fees for poetry, short fiction and nonfiction contests range from $5 to $15; fees for novel and screenplay competitions from $25 to $50. Check the ratio of fee to prize, also; avoid contests that charge $20 to enter for a $50 prize.
All entries are considered for publication. Make sure the entry fee isn’t really a reader’s fee, the publisher’s way to get content without having to pay for it. Be assured you will receive some form of payment (contributor’s copy or cash) if your entry is accepted for publication, even if you’re not actually a “winner. ”
The contest claims rights to your entry. Avoid contests that claim any rights to entries (unless you know the publication is highly reputable), especially those that claim all rights.
Publication in a low-quality periodical is the prize. There is little value in being published in a periodical which has no respect in the writing or literary community.
You must buy a copy of the publication. Most legitimate competitions send a copy of the publication in which your winning entry appears. If you have to pay for it, chances are that you’re dealing with a vanity publisher.
Number of entries determines the prize. Check the small print under the extravagant promises. This type of contest is often used to attract clients.
A private individual runs the competition. Most reputable competitions are run by organizations: journals, literary societies, publishers. While such a contest is not necessarily illegitimate, it may not be a worthwhile writing credit and can be troublesome to claim your prize.
These warnings heeded, strap on your common sense, check for contests that interest you and dive in. Good luck!
RESOURCES
13 Warning Signs of a Bad Poetry Contest
What to watch out for before sending that poem—or check.
Web Resources That Help You Identify Scams
Writer Beware: Contests and Vanity Anthologies
END
Patricia has most recently been published in Tiger's Eye, Möbius, The Horsethief's Journal, San Gabriel Valley Poetry Quarterly and Niederngasse. She won the Reuben Rose International Poetry Prize (Israel). Contact Patricia.
