Friday Finds for Writers

The weekly collection of writing-related resources, news, and reflections to read over the weekend.

  • You know, I usually think that my mom raised me right and that I do a decent job with thank-you notes. Alas, the first installment of The Memorious Guild’s Guide to Literary Etiquette made me realize that I still have a ways to go.
  • Also on the etiquette theme: Debbi Ridpath Ohi describes what encourages her to promote others’ work through her @inkyelbows feed–and what has the opposite effect. And Nina Badzin explains how Twitter is like “a writer’s endless holiday party“. (And while we’re talking about Twitter: If you haven’t uploaded a header photo yet, GalleyCat has some advice for you.)
  • Every so often, I like to check in with the After Deadline blog for “newsroom notes on usage and style” from The New York Times.
  • This week brought my latest “First Looks” post about new/forthcoming books for Fiction Writers Review. Go on over and see what I spotlighted this month (hint: Oprah and I have something in common).
  • “It took me something like twelve years of sending work to AGNI to finally break in,” writes Jehanne Dubrow. “The writing life is like that: a decade of sending out poems, maybe every year, maybe twice yearly, to a place that feels so right for one’s work but that keeps saying no (or maybe, no thank you). And then, one day, a yes arrives, usually in a way so quiet and understated that the acceptance feels inevitable.”
  • Have a great weekend, everyone. See you back here on Monday.

    Jewish Literary Links for Shabbat

    Photo Credit: Reut Miryam Cohen
    Every Friday morning My Machberet presents an assortment of Jewish news, primarily of the literary variety, from around the Web.

  • Beautiful, haunting essay on Tablet by David Goldstein, about his grandfather (a Holocaust survivor), and a visit to the grandfather’s village.
  • Another moving “3G” story I discovered this week: “Marcy Rosen had never seen a photograph of her grandfather, Morry Chandler, as a young man. He is a Holocaust survivor, and all pictures from his childhood were lost or destroyed. But then Marcy found a pre-World War II film from his hometown in Poland on the Museum’s website. And she spotted his fourteen-year-old face among a group of children and teens smiling at the camera.”
  • Some background regarding how my novel excerpt, “Rio, 1940,” made its way to the current issue of JewishFiction.Net.
  • From the Association for Jewish Studies: “We are on our way to Chicago for the AJS 44th Annual Conference! Keep an eye on Facebook and and Twitter (@jewish_studies) for updates throughout the meeting. We’ll be using the hashtag #AJS12. Hope to see many of you there!” Conference runs December 16-18.
  • Don’t forget: The December Jewish Book Carnival will go live after sundown tomorrow evening. Please stop back here to see everything we have in store for you this month!
  • Enjoy the conclusion of Hanukkah, everyone, and Shabbat shalom!

    On Changes in Jewish-American Writing

    Last week, as I wrote in a post published yesterday on The Forward‘s “Arty Semite” blog, I attended

    a panel with an intriguing title: “Contemporary Jewish-American Writing: What Has Changed?” Equally interesting, especially when attention is being paid to gender (in)equities in publishing, the panel proposed to discuss how women writers, in particular, have influenced the shifts. Although the event didn’t address all of its anticipated questions, it left me considering how my own recent reading in Jewish books — works whose content reflects an engagement with identifiably Jewish subjects, such as Jewish history, prayer, ritual, language and Israel — may reflect some of those shifts and changes.

    Please go on over to The Arty Semite to keep reading.

    Wednesday’s Work-in-Progress: The Potential of “Unfinished” Work

    Last July, I noted some boosts in my writerly productivity. I discerned several factors in that happy development, including

    the extent to which I’ve been taking to heart [advice] from Midge Raymond’s Everyday Writing: Tips and Prompts to Fit Your Regularly Scheduled Life. As part of her counsel on ways to meet our writing goals, Midge advises: “Don’t dismiss unfinished projects.” She explains: “I’ve found many gems in long-abandoned projects….Never abandon old ideas; you never know when they’ll suddenly be relevant. Revisit all your ‘old’ stories, poems, or essays at least once a year.” (more…)

    Monday Markets/Jobs/Opportunities for Writers

    Monday brings the weekly batch of no-fee competitions/contests, paying submission calls, and jobs for those of us who write (especially those of us who write fiction, poetry, and creative nonfiction).

  • Room, “Canada’s oldest journal by and about women,” is planning an issue on the theme of “Crime”: “Sin, wrongdoing, injurious acts, murder, deceit, contraband. Poison, theft, larceny, lust, fraud, family and foreclosure. It is not a CRIME to admit that we love to read it all. This is your chance to become a CRIME writer. For the first time in its 35-year history, Room will investigate CRIME in an issue of chillingly good writing about seriously bad things. We are looking for CRIME poems, non-fiction, and short stories: shameful and heroic, terrifying and grand, falsi and injuria, noir and passionnel. We are also looking for frightfully powerful art.” Pays: “We pay $50 for up to 2 pages, $60 for 3 pages, $80 for 4 pages, $100 for 5 pages, $120 for 6+ pages, and $250 for cover art. Contributors also receive two copies of the issue in which the work appears and a year’s subscription to Room.” Deadline: January 31, 2013. (via placesforwriters.com)
  • Who pays writers? is a new resource: “A place to list whether, and how much, magazines and websites pay their writers. We’ll post ’em as you report ’em. Intended to be informational, not judgmental.”
  • From WritersWeekly.com: “We’re out of features! We pay $60 for around 600 words; non-exclusive electronic rights only. Our guidelines are here: http://www.writersweekly.com/index-markets.htm.”
  • The University of Glasgow is looking for a Lecturer in Creative Writing (poetry specialty).
  • The Creative Writing Program at the University of British Columbia invites applications for two full-time, tenure-track Assistant Professor positions in the Creative Writing Program, to begin July 1, 2013. Requirements include: graduate degree (Master of Fine Arts in Creative Writing preferred, but a combination of a Masters degree in a related discipline and appropriate writing and publishing experience would be acceptable); demonstrated excellence in writing in one or more of the following forms: fiction, non-fiction, poetry, children’s writing; experience in the teaching of university-level creative writing courses preferred; experience in teaching in online settings an asset; two major publications or productions required.
  • “The MFA Program in Creative Writing at Chatham University [Penn.] seeks a dynamic individual to serve as Associate Director with special focus on the Low Residency program. Chatham’s innovative MFA program offers both a full and a low-residency option; we seek to hire an Associate Director with experience in distance learning to work with the Director to facilitate the continued growth and vibrancy of the low-residency aspect of the program and contribute to building a sense of community between the two programs.”
  • Ramapo College of New Jersey seeks an Assistant Professor of Creative Writing (“especially fiction”).
  • “The Department of English in the School of Liberal Arts and Sciences at Oklahoma City University invites applications for a nine-month tenure-track faculty position beginning Fall 2013. Teaching responsibilities include undergraduate creative writing and first-year writing courses.”