THE PRACTICING WRITER
Supporting the Craft and Business of Excellent Writing
Volume 9, Number 4: May 2012
Editor: Erika Dreifus
Copyright (c) 2012 Erika Dreifus
http://www.erikadreifus.com
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IN THIS ISSUE:
1. Editor’s Note: What’s New
2. Article/Lessons Learned
3. Featured Resource
4. Upcoming/Ongoing Contests, Competitions, and Other Opportunities
5. Submission Alerts!!!
6. Blog Notes
7. Newsletter Matters
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1. EDITOR’S NOTE: WHAT’S NEW
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Greetings, practicing writers!
In recent years, May has brought us Short Story Month. Please check in throughout the month with my friends at Fiction Writers Review (http://fictionwritersreview.com) for lots of great short-story content. The team is also running the Collection Giveaway Project again this year, which will provide chances for all of us to blog about (and maybe even win) quality collections. For details on the CGP: http://fictionwritersreview.com/blog/the-collection-giveaway-project-2012.
Lots to share in this issue, so let’s get to it!
Wishing you all a marvelous May,
ERIKA
P.S. Did you know that you can find even *more* opportunities for writers on our blogs between newsletter issues? That’s how Ruth Horowitz learned about the latest *Lilith* magazine fiction competition. And she has just won third prize! Ruth e-mailed to share the news: “When the editor asked how I had heard about the contest, I had to think for a moment, and then I remembered. I read about it on your blog. This is the first time I have entered a writing contest. The idea never would have occurred to me if I hadn’t seen your post. So I wanted to thank you. Best, Ruth Horowitz.” Congratulations and *Mazel Tov* to Ruth! Learn more about Ruth’s writing at http://RuthHorowitz.wordpress.com/, and find out more about our blogs below.
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2. ARTICLE/LESSONS LEARNED: AN INTERVIEW WITH “MOMOIRST” JANE ROPER
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AN INTERVIEW WITH “MOMOIRIST” JANE ROPER
by Erika Dreifus
I have admired Jane Roper’s writing for a long time (and I’m not just saying that because we’ve both had books of fiction published by Last Light Studio). I was thrilled for Jane when she announced that St. Martin’s Press had bought her second book, a memoir of her first three years mothering twins. That book, DOUBLE TIME, will be released on May 8, and I’m delighted that Jane was willing and able to take some time to answer a few of my questions about it.
Since I don’t have twins (or any kids of my own, for that matter), one observation that Jane shared with me resonated especially: “One of the greatest things in hearing reactions to the book so far is that even people who don’t have twins, as well as people who don’t have kids at all, have enjoyed reading it. It’s always gratifying to know that the book strikes some universal chords. Or at least has a few good jokes in it.” I *have* read the book, and I wholeheartedly agree. DOUBLE TIME is simply a great read.
Please welcome Jane Roper.
ERIKA DREIFUS (ED): Jane, congratulations on the publication of DOUBLE TIME, a memoir of your first three years parenting twin daughters (I’d be remiss if I didn’t state outright that you co-parent with the wonderful Alastair Moock, who readers quickly discover is a terrific husband and dad). I began following your journey as mom to Elsa and Clio on Babble.com, where you write a popular blog titled “Baby Squared.” Can you please tell us, first, how the blog got started, and then, how the blog’s premise led to the memoir?
JANE ROPER (JR): I began blogging a few weeks into my pregnancy, primarily as a means of journaling the experience for myself, and as a way to update friends, if they cared to read. I found I really enjoyed the format, and the voice I developed. When the girls were a few months old, my friend Steve Almond, who blogged for Babble.com at the time, suggested that I send my stuff to them, to see if they’d like to add me to their group of personal bloggers on the site. So I packed up and moved blogging operations to Babble in June 2007, and have been there ever since.
For a long time, people had told me I should turn my blog – or at least its general themes and writing style – into a book, but I sort of pooh-poohed the idea. I didn’t feel like I had anything beyond a series of anecdotes and ruminations. In other words, not enough to constitute an actual book, with an actual narrative arc. Moreover, I felt like the “momoir” genre was glutted. Who would want to read another book by yet another mommy blogger? Hell, I wouldn’t.
But then a few things happened in my life that seemed to provide that all-important dramatic conflict: After struggling with several, successively worse depressive episodes, starting when my girls were just over a year old, I was diagnosed with Bipolar II (Ed. note: for more about this disorder, please see http://www.webmd.com/bipolar-disorder/guide/bipolar-2-disorder ). I also was at the cusp of wanting to make a major life change in terms of my work schedule and focus. My daughters, about to turn three, were also nearing the end of their babyhood. Suddenly, I felt like I had an actual book to write.
ED: If the book’s main focus is the circumstance of parenting twins, a secondary thread is that challenge of parenting while coping with one’s own depression and bipolar depression. You mention early in the book that when you were expecting your babies, you found little guidance available on either subject. You also allude to the experience of having been raised in a family where one parent (your dad) suffered from depression, although you are fairly circumspect about the details of his experiences. Can you please tell us a bit about what your dad may have said about the book, if he has read it, or your hopes/expectations for his reaction once he does?
JR: When I’m depressed I have little desire or attention span for reading, but for some reason I take solace in reading about other people’s experiences with depression. It makes me feel less alone, I suppose. I almost always read Jane Kenyon’s poem about depression, “Having it Out With Melancholy” (http://www.poets.org/viewmedia.php/prmMID/15920) when I’m having a depressive episode, because she nails it so completely. So, yes, I really would have loved to read about someone else’s experiences coping with depression while parenting young kids.
As for my father, he hasn’t read the whole book as of this writing, but I did talk with him ahead of time about whether he’d be comfortable with my mentioning his depression, and during the legal review of the manuscript, the publisher’s attorney had me run the actual passages by him. (Same for my aunt, whose bipolar disorder I write about. And my husband, whose depression I also discuss, although he was reading drafts of the book all along.)
My father was a mental health professional, a clinical psychologist, for a long time, so depression isn’t a taboo subject to him. He’s somewhat open about his own struggles, although not necessarily with people he doesn’t know well. Which makes it interesting, I guess, that he would be willing to have his issues aired in a book. But he wanted me to be able to tell my depression story honestly, and it would have been disingenuous to leave the family history out.
ED: DOUBLE TIME follows a fairly chronological structure, from the moment the ultrasound exam revealed that you were carrying two babies through the first three years of your daughters’ lives. Did the writing flow pretty straightforwardly, or were there certain segments that proved more difficult to write than others?
JR: It did flow fairly straightforwardly, and it was a conscious choice to keep it quite chronological, because I wanted the book to feel, on some level, like a journal of my experiences. And because I think the first months and years of parenthood are so much about the sequential development and growth of your child(ren) and your new, parent self. I was definitely inspired by Anne Lamott’s OPERATING INSTRUCTIONS: A JOURNAL OF MY SON’S FIRST YEAR, which I adored reading when my daughters were newborns.
But there were, indeed, aspects of the writing that proved tricky. In order to make the book feel immediate and absorbing, I had to provide a lot of actual scenes and anecdotes—not just broad-strokes “this sort of thing was going on, and things generally felt like X or Y.” I had my blog to refer back to for material, but I also had to dig deep into my memory. There was one chapter where I wrote about how exhausting playdates were when my girls were toddlers, and how fried I felt afterward, and my editor (who is wonderful) said I really needed, if possible, to show this through a scene. I had to scour my memory to come up with one. And even so, I’m not 100 percent sure I didn’t conflate two separate incidents.
That’s one of the dangers of writing about mothering babies and small children: a lot of what feels immediate and overwhelming at the time recedes quickly into the fog. Only to be replaced by some new, overwhelming challenge.
ED: You are a very funny writer, whether you’re capturing your toddlers’ speech (I’m not sure that I will ever see shoes, or “shizz,” quite the same way again); depicting a decidedly unglamorous scene on an examination table; or recalling what you’d heard about your mother’s experiences delivering you and your younger brother and thinking, during your own labor with your two babies, “Maybe my mother has a higher pain tolerance. Or amnesia.” Memoirs sometimes have a reputation for providing sad and gloomy pictures. Are there memoirists who serve as models for you in successfully injecting humor and vibrancy into their writing? Any specific titles to recommend?
JR: First of all, thanks for the compliments! I love the challenge and the fun of writing funny. I am somewhat ashamed to admit that I don’t actually read tons of memoirs; novels constitute probably 80 percent of my reading. But when I do read memoir, I am definitely drawn to the funny sort. I love (along with hordes of other people) reading David Sedaris. Augusten Burroughs’s RUNNING WITH SCISSORS is very funny, as is Steve Almond’s CANDYFREAK, which is a combination of memoir and reportage. I recently devoured Tina Fey’s comic memoir, BOSSYPANTS. But I wish she’d dug a bit deeper into the “pain places” of her life. That’s the thing: humorous reflections are a lot of fun to read. But when a writer can do humor and pathos, that’s really something. That’s what I aspire to.
ED: What do your twin daughters–now five years old–understand about DOUBLE TIME?
JR: Not a whole lot, except that Mommy wrote a book about what it was like when they were babies and little kids (to them, being five confers “big kid” status). I’ve actually read them a couple of passages where there descriptions of their sillier antics, or things they said. They liked that, although I did have to edit out some of my wry commentary on the fly because I thought it might confuse or even bother them a little. They’re pretty perceptive kids. Basically, though, the whole thing is no great shakes to them. For all they know, anybody’s mommy could write a book if they wanted.
ED: Anything else you’d like us to know?
JR: For any readers in the Boston area, I’ll be launching DOUBLE TIME with a reading at Brookline Booksmith on May 8 at 7:00 pm. (There will be snacks! And wine!) There’s information about other appearances at my website, http://www.janeroper.com
ED: Thank you so much, Jane!
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3. FEATURED RESOURCE: “WHAT NOT TO DO AT A BOOK FESTIVAL OR WRITERS CONFERENCE”
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As you may remember, last month’s newsletter included some reflections on my recent trip to the Virginia Festival of the Book. One of the people I met there, Bella Stander, has since shared some terrific tips on “What Not to Do at a Book Festival or Writers Conference.” Check them out!
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4. UPCOMING/ONGOING CONTESTS, COMPETITIONS, AND OTHER OPPORTUNITIES OF INTEREST
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Badlands National Park Artist in Residence Program
http://www.nps.gov/badl/supportyourpark/air.htm
Deadline: June 15, 2012 (for fall residency, available between September 15 and November 15)
NO APPLICATION FEE
“The Artist in Residence program at Badlands National Park was founded in 1996 and is open to all professional artists. Writers, composers and all visual and performing artists are invited to interpret this wind-swept environment through their work. The program provides time for artists to get away from everyday responsibilities to focus on their surroundings and their medium. The park offers an apartment located in small housing complex at park headquarters at no cost to the artist. The residency lasts for a minimum of four weeks and a maximum of six weeks. Additionally, the park provides a reimbursement for expenses not to exceed $300.”
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Mary Ballard Poetry Chapbook Prize
http://caseyshaypress.blogspot.com/2012/04/2013-mary-ballard-poetry-chapbook-prize.html
Deadline: June 30, 2012
NO ENTRY FEE
“Mary Ballard Wright wrote poetry, but almost no one knew it. She raised three children through two marriages, kept a home, and scribbled verses in those moments when she dared to think of something other than daily life. In 1979, a tornado swept through her town of Wichita Falls, taking her home and everything she owned. Among the things she lost were her life’s work, handwritten poems kept in a closet. Mary died in 2010, and here at Casey Shay Press, we have decided, in her memory, to publish one poet each year. It is our hope to keep others’ work from sudden loss, be it a natural disaster, a technical failure that destroys a hard drive, or a personal loss in the theft of the laptop where we kept our work. The winner of the Mary Ballard Poetry Chapbook Prize will receive $500, 25 printed copies of the chapbook, and a book contract for the sale of physical and electronic versions of the chapbook.” (via http://fundsforwriters.com)
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Brevity’s Immerse Yourself, Briefly Contest
http://brevity.wordpress.com/2012/04/09/immersion
Deadline: May 11, 2012
NO ENTRY FEE
Judge: Robin Hemley
“For centuries writers have used participatory experience as a lens through which to better see the world at large and as a means of exploring the self. Immersion writing encompasses Immersion Memoir (in which the writer uses participatory experience to write about the Self), Immersion Journalism (in which the writer uses the Self to write about the world), and Travel Writing (a bit of both: the writer in the world and the world in the writer). Types of immersion writing within these broad categories include: the Reenactment, the Experiment, the Quest, the Investigation, and the Infiltration. Immersion, by the way, is defined as involvement in something that completely occupies all the time, energy, or concentration available. So, choose one of the immersion modes and knock yourself out, except that we are only allowing you 500 words.” Prizes: “First prize is a copy of *A Field Guide for Immersion Writing: Memoir, Journalism, and Travel* and $50, second prize is a signed copy of the immersive *The Accidental Buddhist*, and third prize is a showercap. All three winners will be published on the Brevity blog.”
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FBFT Sports Writing Competition
http://www.freebetsfreetips.com/fbft-sports-writing-competition
Deadline: May 13, 2012
NO ENTRY FEE
“We are looking for the best sports writers to send us exciting, original, even abstract sports writing to help add zest and vigour to the genre….The entries may be prose or poetry, fiction or non-fiction. You may write about any subject…as along as it relates to sport. Any sport. We didn’t get any entries about synchronised swimming last time, so maybe this time. The three winning entries from the last competition were about football, golf and darts, but really we don’t have a preference. Entries may be anything up to 1500 words and must be written in English.” Cash prizes (GBP 50/30/20) and publication.
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Hay House Visions Fiction Writing Contest
http://www.balboapress.com/PublishingContest.aspx
Deadline: June 1, 2012
NO ENTRY FEE
“Hay House Visions, the new fiction publishing division of Hay House, is teaming with Balboa Press for the first-ever Hay House Vision Fiction Writing Contest. One Grand-Prize winner will receive a publishing contract with Hay House Visions and a $5,000 advance.”
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Drue Heinz Literature Prize
http://www.upress.pitt.edu/prizes.aspx
Deadline: Submit between May 1 and June 30, 2012
NO ENTRY FEE
“The Drue Heinz Literature Prize recognizes and supports writers of short fiction and makes their work available to readers around the world. The award is open to writers who have published a book-length collection of fiction or at least three short stories or novellas in commercial magazines or literary journals. Manuscripts are judged anonymously by nationally known writers; past judges have included Robert Penn Warren, Joyce Carol Oates, Raymond Carver, Margaret Atwood, Russell Banks, Rick Moody and Joan Didion. The prize carries a cash award of $15,000 and publication by the University of Pittsburgh Press under its standard contract.” Open to writers in English, regardless of U.S. citizenship.
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James Laughlin Award
http://www.poets.org/page.php/prmID/109
Deadline: May 15, 2012
NO ENTRY FEE
Judges: April Bernard, Cyrus Cassells, Dana Levin
“The James Laughlin Award is given to recognize and support a poet’s second book. It is the only second-book award for poetry in the United States. Offered since 1954, the award was endowed in 1995 by a gift to the Academy from the Drue Heinz Trust. It is named for the poet and publisher James Laughlin (1914-1997), who founded New Directions in 1936. Only manuscripts already under contract with publishers are considered for the James Laughlin Award. The Academy awards the winning poet a cash prize of $5,000 and purchases copies of the book for distribution to its members.”
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Mason’s Road Literary Award
http://www.masonsroad.com/about-2/submission-guidelines
Deadline: May 15, 2012
NO ENTRY FEE
“For our upcoming issue, the theme is characterization. We are looking for submissions in which characters’ voices, behaviors, and thoughts resonate and shine. While we always aim to publish the very best work that we receive, our genre editors will sift through their selections from Issue #5: Characterization to nominate their favorite for the $1,000 2012 Mason’s Road Literary Award. A special guest judge (TBA) will select the prize winner from these nominations. We have a blind submissions policy and accept work in fiction, poetry, creative non-fiction, drama (stage or screen), art, craft essays, and audio drama from both emerging and established writers and artists.”
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5. SUBMISSION ALERTS!!!
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*The Georgia Review* closes to submissions for this cycle on May 15. They do not consider simultaneous submissions. Payment: “the current standard rates are $50 per printed page for prose and $4 per line for poetry.” http://garev.uga.edu
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Based in Vancouver, Canada, *SubTerrain* welcomes submissions for an issue themed “The Memory Field” until May 15. “Theme issues will still feature ‘regular’ work, so please continue sending us your submissions, theme-related or not.” For more info and pay rates, please see http://subterrain.ca/about/35/sub-terrain-writer-s-guidelines.
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*One Story*’s submission window closes May 31. The magazine publishes literary fiction and pays $250 plus 25 contributor copies. NB: “One Story is looking for previously unpublished material. However, if a story has been published *in print* outside of North America, it will be considered. No stories previously published online will be accepted.” http://www.one-story.com/index.php?page=guidelines (See also *One Teen Story*, “a new literary magazine that connects teens to great short stories,” which also closes to submission on May 31: http://www.oneteenstory.com )
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*The Gettysburg Review* also closes to submissions May 31. “Payment is upon publication: $2.50 per line for poetry and $30 per printed page for prose.” http://www.gettysburgreview.com/submissions/questions/
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From *Oxford American: The Southern Magazine of Good Writing*: “An arresting number of the New Journalist crew was pinched from the Old South (Tom Wolfe, Hunter Thompson, Marshall Frady, Willie Morris, and Terry Southern) so we thought it’d be fun to seek an updating of New Journalism and the New South. To do this, we are now recruiting an army of fresh literary talent (from both the fiction and nonfiction ranks) to delve into subjects ranging from the serious to the seriously unexpected. Our “New South Journalism Issue” will use long-form journalism to dig hard and well into the region’s culture, politics, and personalities.” Deadline: June 15, 2012. Pays: “The pay scale for accepted material varies” and “payment is issued within thirty days of publication.” http://www.oxfordamerican.org/pages/submission-guidelines/
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Changes afoot at *The Pedestal Magazine*: “We will be publishing six issues per year, as has been the case for many years; however, we will now be publishing four issues per year of ONLY poetry (April, June, October, and December). We will continue to feature speculative poetry exclusively in our June issue. The February and August issues will be dedicated entirely to fiction (the February issue will be entirely dedicated to speculative fiction; the August issue will vary according to guidelines).” To find out more, see http://thepedestalmagazine.com/submitguidelines.php
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“Calling all Road Warriors: Issue eight of *Workers Write!*, tentatively titled *Tales from the Concrete Highway*, will contain stories and poems from the driver’s point of view. We’re looking for fiction from taxi cab drivers and chauffeurs, truck drivers, delivery drivers and couriers, forklift operators . . . anyone who uses a wheeled vehicle for work (even pit crews and stunt drivers). Drop us a line if you have a question. The deadline for submissions is Dec. 21, 2012 (until the end of the world or the issue is full). Pays: “Between $5 and $50 (depending on length and rights requested). We will consider previously published material.” http://workerswritejournal.com/
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From the Association of Writers & Writing Programs: “Many of the essays published in the Writer’s Chronicle began as contributions to panel discussions at our annual conference. If you participated in a panel discussion in Chicago, we encourage you to develop your talk into an essay for the editors’ consideration. We are not interested in transcripts of talks. Instead, we seek works on your topic that you have fully developed, in content and in form, to work well as an essay in print. If others have addressed your topic before you, your essay should demonstrate an awareness of their contributions to our intellectual and artistic community. Please see our editorial guidelines at http://awpwriter.org/magazine/guidelines.htm before submitting your work. The Chronicle has a circulation of 39,000 readers. For the next academic year, the magazine will pay $14 per one hundred words for accepted articles.”
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6. BLOG NOTES
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The newsletter is published just once each month, but there’s *always* something new at our Practicing Writing blog: fresh market news, current contest and job listings, links to writing-related articles, newly-discovered craft and business resources, and so much more. Regular blog features include:
–Monday Morning Markets/Jobs/Opportunities
–Quotation of the Week
–The Wednesday Web Browser for Writers
–Thursday’s Work-in-Progress
–Friday Find for Writers
Please visit, and comment! http://www.erikadreifus.com/blogs/practicing-writing/
And for those of you practicing writers who are interested in matters of specifically Jewish cultural interest, please also visit My Machberet (http://www.erikadreifus.com/blogs/my-machberet). For the curious, “machberet” is the Hebrew word for “notebook”.
Recent writing-focused posts there include:
–Yom HaShoah Reflections on Eva Hoffman’s AFTER SUCH KNOWLEDGE (A Guest Post by Ellen Cassedy)
–”What Must Be Said”: Gunter Grass, My Book & Me
–Jewish Literary Links for Shabbat
–Oy! Only Six? Why Not More? Six-Word Memoirs on Jewish Life
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7. NEWSLETTER MATTERS
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Information contained in THE PRACTICING WRITER is collected from many sources, with the purpose of providing general references. It is researched to the best of our ability but readers should verify information when necessary and appropriate. THE PRACTICING WRITER and its editor/publisher disclaim any liability for the use of information contained within. Thank you for subscribing.
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For updates and additional opportunity listings between newsletters, please check in with our “Practicing Writing” blog, http://www.erikadreifus.com/blogs/practicing-writing.
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ABOUT THE EDITOR: Based in New York City, Erika Dreifus is the author of *Quiet Americans: Stories*, a 2012 Sophie Brody Medal Honor Title. She is a Contributing Editor for *The Writer* magazine and *Fiction Writers Review* and a member of the advisory board for *J Journal: New Writing on Justice*, and has taught for Harvard University, the Cambridge (Mass.) Center for Adult Education, and the low-residency MFA program in creative writing at Lesley University. Please visit http://www.erikadreifus.com to learn more about Erika’s work, and go directly to http://www.erikadreifus.com/quiet-americans/book-clubs/ to arrange for her to visit your book club!
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