Rejection Is Not Feedback

A guest post by Allison K Williams

I need a sweater. So I go to the mall. (The mall is a temple of consumerism with an indoor ski slope overlooked by The Cheesecake Factory, because I live in Dubai.)

The first store specializes in argyle sweaters. Argyle is just not my thing. Do I:

A) Assume this brand is garbage and everything they will ever make is argyle.

B) Say “no thank you,” and head for another store, dismissing argyle from my mind because it’s not that big a deal, I’m shopping all day anyway and hey, someone else is going to love diamond plaids.

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“Tin House is an invaluable repository of fine American writing and American fiction, presented in a crisp and entertaining visual format.” – Stephen King

The first issue of literary magazine Tin House was published in 1999. Based in Portland, Oregon, Tin House publishes fiction, essays, and poetry, and its contributors have frequently been recognised by major American literary awards and anthologies including the Best American Short Stories and the O. Henry Prize.

Throughout September Tin House will be accepting submissions for its first two issues of 2018:

  • Spring – Theme: Candy, to be published 1 March 2018
  • Summer – Open, non-themed, to be published 1 June 2018

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Canadian literary magazine PRISM international aims to publish the best contemporary fiction, creative non-fiction, translation, drama, and poetry from around the world. While its pages have featured such luminaries as Margaret Atwood, Jorge Luis Borges, Raymond Carver, and Seamus Heaney, most of the work it publishes is unsolicited, and many writers whose first publication appeared in PRISM international have gone on to critical acclaim. PRISM’s Prose Editor Christopher Evans discusses what he’s learned about editing a literary magazine, from a writer’s POV.

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Submit with abandon? Send out a story that’s already received 20 rejections? Keep going? Call it quits? Should you send an edited piece to a magazine that passed on an older draft? Kim Winternheimer, founding editor of The Masters Review, talks submission strategies.

Submission strategies are a tricky thing. Every emerging writer I know discusses submission failures and victories, and it’s a topic that pops up in conference panels and workshop often.

Writers talk about submitting because the process itself is the road to publication. Because success in selling stories rests entirely on that effort. Writers lament and analyze the form rejection they receive after eight long months, and applaud the personalized request for more work. Writers talk about the process because they want to see how others are navigating the labyrinth, and, because silently they wonder: am I tackling submissions the right way?

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After a six-month hiatus Granta, one of the world’s most prestigious literary magazines, is again accepting unsolicited submissions.

Granta’s history can be traced back to 1889 when a student politics and literature magazine called The Granta was founded at Cambridge University. Since its relaunch 36 years ago, Granta has been a quarterly literary journal, with the aim of publishing the best new writing.

Granta publishes fiction, non-fiction and poetry and each now has their own submissions window.

Poetry will be considered from now until 3 November.

Fiction submissions open on 16 January and close on 15 February.

Non-fiction submissions open on 24 April and close on 24 May.

There are no strict word limits, though most prose submissions are between 3000 and 6000 words and the editors advise they are unlikely to read more than 10,000 words of any submission.

Alongside the print edition, the online new writing program publishes stories, poems, essays, interviews, animations and more from established Granta alumni as well as new voices. View Post