Podcasts about duotrope

Text us a review. Ep#236: Join host, Helen Edwards for this special solocast as she shares her current personal journey in the query trenches pitching her book to agents and the decision to republish her book Nothing Sexier Than Freedom. Learn some quick resources on where to query literary agents. Enjoy the show! You can now ‘Text Us a Review.' Or leave us a review on any of our audio and video platforms. Thank you for listening. If you would like to support our show, click the links below.  Disclaimer:  The hosts of this show are not doctors, therapists, psychologists, lawyers, or medical professionals of any kind. Although some of our guests are professionals in these areas, be advised if you have any life-threatening medical conditions or mental health, please see your doctor. National Suicide Hotline: 988 Helen Edwards is the International Author of Nothing Sexier Than Freedom and Host to the Sexy Freedom Media Podcast and Your Morning Sauce. For more information click here: https://linktr.ee/sexyfreedommedia Support the show "Buy us a coffee"https://www.buymeacoffee.com/Helofajourney https://www.buymeacoffee.com/januarylidl Support the show

Our podcast title is “How To Write a Book Description That Gets Readers Tingling All Over” and that just sounds naughty, doesn't it? And it is a little naughty because this, my friends, is about selling a book, your book, and that requires being a little bit sexy. Sexy is something I, Carrie, am very very bad at. Let's start by thinking about it this way: A book description is an adverstisement for your book. Writing a bad ad for your book doesn't make you a sucky novelist. It just makes you unskilled at that. And that's okay. You've been learning character development and plotting and novel structure and pacing. It's okay to not know this part of the book world too. Yet. Here are the things you need to know about how to write a book description MAKE IT BETWEEN 150 AND 250 WORDS You want it to not be as long as the book. Or even as long as a novella. Or even as long as this post. Any longer? People apparently stop paying attention. FOCUS ON THE BARE PLOT MINIMUM AND THE HERO/PROTAGONIST Show us how the main character's decision has set them toward the adventure of the book. MAKE IT IN THE THIRD PERSON The third person is when you talk about other people and don't use the “I.” So, Carrie Jones and Shaun Farrar decided to adopt a hamster, little did they know, it was a zombie. Not We adopted a zombie hamster. DO NOT BE CHEESY You don't want to go all fancy-pants on the book description. Stay away from adverbs and adjectives and a zillion clauses. Simple wins. So, don't write: In the adorable town of Bar Harbor, Maine where tourist avidly romp in the summer and locals stoically manage the hard winters beneath the mini mountains and rocky coast, two hard-working podcasters tried to adopt a small rodent. HOOK THEM IN Book hooks happen in the first pages of the story, but they also need to happen in story descriptions. A good way to do this is to show how your hero is unlikely to achieve their goal on their adventure. Absolutely clueless podcasters Carrie Jones and Shaun Farrar decided to adopt a hamster, hopelessly hoping for something easy to love. Little did they know that Hammy the Hamster was a zombie. MAKE YOUR WORD CHOICE COUNT AND WORK FOR THE BOOK If you use one or two words that are emotional and full of power, you can impact the reader and make them want your book. Our book looks like some quirky fantasy, right? We know that from the plot. If it was a mystery, we might use a word like MURDER> Two podcasters. One zombie hamster. And a little Maine town about to host a million tourists. Carrie Jones and Shaun Farrar weren't expecting that the hamster they'd adopted to help their podcast ratings would end up a zombie. Or that it would threaten all the tourists heading in to celebrate Acadia National Park's bicentennial. Now, these clueless podcasters, looking for a way out of their podunk town have a choice: find a way to get people to listen to them and protect both the tourists and Hammy the Hamster or just give up and hunker down with some Doritos (Hammy's favorite) before it's too late. The future of Bar Harbor, Maine—and a million tourists—depend on them. DOG TIP FOR LIFE Hook ‘em and they'll buy your book. In dog world, they'll give you a treat when you hook ‘em. Show them what they need but bring them along, wanting more. PLACE TO SUBMIT These are from Duotrope which has an AMAZING list. You should check it out. 21 Jul 2024 06:59 UTC Macrame Literary Journal (Gold Star Program): Fiction 21 Jul 2024 06:59 UTC Macrame Literary Journal (Gold Star Program): Micro-Fiction 31 Jul 2024 14:29 UTC Witcraft (Gold Star Program): Witcraft Annual Humour Competition (Charges fees.) 31 Jul 2024 22:59 UTC The Passionfruit Review (Gold Star Program): Issue 11 31 Jul 2024 23:59 UTC Sunspot Literary Journal (Gold Star Program): Novella-length fiction, CNF, or graphic novel (Charges fees.) Writing Exercise: This one is just a simple prompt from Writers Connection “The Whispering Forest: A forest speaks to those who listen. What secrets does it share, and what price must you pay for its wisdom?” Random Thought Link https://www.huffpost.com/entry/ap-us-odd-cat-honorary-degree_n_6647b994e4b00e1a0a6c1f51 SHOUT OUT! The music we've clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here's a link to that and the artist's website. Who is this artist and what is this song? It's “Summer Spliff” by Broke For Free. WE HAVE EXTRA CONTENT ALL ABOUT LIVING HAPPY OVER HERE! It's pretty awesome. We have a podcast, LOVING THE STRANGE, which we stream biweekly live on Carrie's Facebook and Twitter and YouTube on Fridays. Her Facebook and Twitter handles are all carriejonesbooks or carriejonesbook. But she also has extra cool content focused on writing tips here. Carrie is reading one of her raw poems every once in awhile on CARRIE DOES POEMS. And there you go! Whew! That's a lot! Subscribe

Inspired by an audience member writing in, Episode 4 explores ways we are reframing rejection and failure to best aid us on our writing journey.  The following are questions regarding rejection and failure from our hosts:   1. How do you process rejection other than the generic , get yourself back on the horse or allow yourself time to sulk ? What's another way of looking at not getting what you want for your writing ? 2. Have you ever failed at something you were trying to write? How did that failure function for you after? Is there a difference between how you saw failure earlier in your writing and now?   Show Notes 1. Celeste Mohammed's book Pleasantview: https://www.goodreads.com/book/show/56186509-pleasantview?from_search=true&from_srp=true&qid=nzlAGQjgAn&rank=1 2. Rejection Wiki: https://www.rejectionwiki.com/index.php?title=Literary_Journals_and_Rejections 3. Why Marriages Succeed or Fail : And How You Can Make Yours Last by John Gottman, in which the Four Horseman are mentioned: https://www.goodreads.com/book/show/129025695-john-gottman?from_search=true&from_srp=true&qid=67vLw9eAxv&rank=1 4. Chillsubs: https://www.chillsubs.com/ 5. Duotrope: https://duotrope.com/ 6. Poets & Writers: https://www.pw.org/ 7. Indiana Review “Sunbathing is Forbidden in the Graveyard” by Jeannetta Craigwell-Graham: https://indianareview.org/item/winter-2023-volume-44-number-2/ 8. VQR: https://www.vqronline.org/ 9. Maslow's Hierarchy of Needs: https://www.verywellmind.com/what-is-maslows-hierarchy-of-needs-4136760 10. Email us at writeattention@gmail.com to join The Write Space accountability meeting held on Mondays, Wednesdays, and Fridays from 11am-1pm Pacific Time 11. Brené Brown's book Daring Greatly: How the Courage to Be Vulnerable Transforms the Way We Live, Love, Parent, and Lead, https://brenebrown.com/book/daring-greatly/   12. Brené Brown's book Atlas of the Heart, https://brenebrown.com/book/atlas-of-the-heart/      

 Hello Writers and Crafters! I'm Valerie Ihsan, And I'm Erick Mertz, and this is Episode 88 of the podcast and it's October 19, 2022 as we record this. Main Topic: Submissions  PATREON:  No new patrons this weeks, but a big squeezy hug and Thank you to our existing patrons for believing in us and in the podcast.  This podcast is sponsored by our patrons at Patreon.com/valerieihsan. For as low as a $1/mo, you can get a shout out on the podcast and we can make announcements for you on the podcast. At other tiers, the benefits increase--free books, accountability Zoom calls, scene analysis, mastermind calls, and even free Writer Craft retreat tickets. Become a patron of the arts at Patreon.com/valerieihsan.  Comments:  Re: Ep87: planning for and staying balanced during a busy season, Nicole says: Cool. I've been wanting to write a poem or essay about this, several part-time jobs, exercise, physical training, my neglected garden, housework, friends, etc. I have good hopes to write, exercise, spiritual study, etc.  Sometimes morning appointments too. Mary says: it was helpful to hear how you meet your goals, regardless of what else is going on in your lives. I'm envious (LOL), but working on this. Thank you Just finished:  ARC Weyward by Emilia Hart (out in March). Totally my jam. Strong woman. Different time lines. Hint of natural magic. I'M READING:  Confessions of a Bookseller Up Next::Wintering by Katherine May or Wildwood by Colin Meloy Erick's Reading:  Interview with a vampire Shadow over innsmouth h.p. Lovecraft Update: Valerie's new author website is finished, if you want to take a look. Announcements:  Writer Craft Writing Retreat is scheduled for next August 24-27, 2023. Tickets are $900 this year and include all lodging and gourmet meals, plus instruction and coaching and retreat time on the river, in Marcola, OR. Payment plans are available, and registration opens November 1st, 2022. Patrons receive a hefty discount AND can buy early, making their monthly payments even less expensive. Go to valerieihsan.com/retreat for more information.   Show Notes: 3-5% acceptance is a reasonable acceptance rate Poets and Writers DuoTrope Submission Grinder ralan's Solicited manuscripts vs Slush Pile What's your system to log? Where do you find submissions? (DuoTrope, Submission Grinder) Where do you log/track your submissions? Story title, summary, word count, date completed (of writing it), rejected, date submitted, publication, editor, contact name, what they said. ALWAYS follow the Submission guidelines. The whole thing. Even if you are a solicited submission. 30-40% are rejected without reading because they don't follow the guidelines. How many submissions a week/month? (Erick circulates nine at all time.) When get a rejection, resubmit to another place. New magazine or anthology is best chance to get in because they don't have a slush pile.  Some mags have windows for submission times. Next Episode: celebrating successes Resources:  Contact Erick for business-starting advice. Contact Valerie for book coaching for help writing your book. Other Resources: Thomas Umstattd Jr, at Novel Marketing Podcast. Ep255: How to Create an Email Onboarding Drip Campaign Erick's Linktree link: https://linktr.ee/erickmertzauthor Russell P. Nohelty and Monica Leonelle's book, Get Your Book Selling on Kickstarter. Productivity for Creative People: How to Get Creative Work Done in an "Always on" World by Mark McGuiness Essentialism by Greg McKeown The Anatomy of a Bestseller by Sacha Black    Writing Scenes.: https://www.kobo.com/us/en/ebook/three-story-method-writing-scenes  The Author Life Community Passion Planner: https://bit.ly/3AUiJUx (affiliate link) Discount Code: VALERIEO866 ProWriting Aid: https://prowritingaid.com/?afid=9378 (affiliate link)   Find Us:   Valerie's Services: https://valerieihsan.com Valerie's Author Site: https://valerieihsanauthor.com Valerie's Facebook Page and Instagram account   Erick's Services: https://erickmertzwriting.com Erick's free book on Ghostwriting: https://dl.bookfunnel.com/cexki4kp5n Erick's Author Site: https://erickmertzauthor.com Erick's Facebook Page and Instagram account  Writer Craft Facebook Group Patreon: https://patreon.com/valerieihsan   Some of the Books We've Read This Year:  The Cloisters  Jane and the Unpleasantness at Scargrave Manor Death Masks by Jim Butcher  Drinking Games A Prayer for the Crown-Shy.   How to be a Good Creature Billy Summers by Stephen King The Dude and the Zen Master  How to Write Light Novels and Webnovels by R.A. Paterson The Three-Body Problem by Cixin Liu The Thousand Crimes of Ming Tsu by Tom Lin Run, Rose, Run by Dolly Parton and James Patterson A Ghost in the Throat by Doireann Ní Ghríofa Project Hail Mary by Andy Weir The Anatomy of a Bestseller by Sacha Black The Many Daughters of Afong Moy Summer Night by Jim Butcher The Strange Bird by Jeff Vandermeer The Sound of a Wild Snail Eating by Elisabeth Tova Bailey Newsletter Ninja 2) 

Listeners, you KNOW we got granular with this one because there are just plain so many links! Terena Elizabeth Bell has been writing all her life. Her first short story was published in a literary magazine when she was in college—almost thirty years ago, and she's published many since and won multiple awards. She's also written for more than 100 publications, including The Atlantic, The Guardian, Boston Globe, Smithsonian, Playboy, MysteryTribune, and Santa Monica Review. Platform-o-rama, right?But she could NOT find a publisher for her debut novel or debut short story collection. As she puts it: It wasn't for want of trying. Her novel was turned down by 64 agents.That novel, RECURSION, and Terena's short story collection, Tell Me What You See were both purchased within two weeks once Terena decided to turn to the small presses associated with the lit mags she'd been a part of for so long.We talk about the glories AND problems with small presses, how to be sure you're talking to a small press and not the kind of hybrid publisher we often warn you about (there are legit hybrids, but be careful out there, many take advantage of writers who don't understand what they offer), finding the right small presses and literary magazines and what it's like to be a more literary and experimental writer. It's a great episode with a lot of information we haven't covered before. BONUS: Read Previous guest Joni B. Cole's When Is It Smart to Submit Your Work to a University Press? (You'd Be Surprised!)Big Literary journals Duotrope, The Submission GrinderAssociation of Writers and Writing Programs ConferenceSMOL Fair ReadingsNYT article on how Billie Eilish's platform didn't sell her bookCamCat BooksJustine Bateman's book, Fame: The Hijacking of Reality, which her platform also didn't sell.The 10 National Book Award Finalists for 2022 include 4 books of short stories.Beacon Press: an American left-wing non-profit book publisher.Soho Press: a New York City-based publisher founded by Juris Jurjevics and Laura Hruska in 1986 and currently headed by Bronwen Hruska. It specializes in literary fiction and international crime series.Best Short Stories of 2022Malarkey BooksAuthors Guild Model Contract Brooklyn Book FestivalFSG—Farrar Straus Giroux does/does not take unagented submissionsSubmittableThe controversy surrounding Roxane Gay's PANKThrillerFestFind Terena at www.terenabell.com or on Twitter @TerenaBell#AmReadingTerena: Edith Wharton's A Glimpse of the Moon, A Son at the Front , and The Custom of the CountryNight Rider, All the Kings Men, both by Robert Penn WarrenKJ: The Letters of Shirley Jackson, as well as the four book omnibus that has Sundial in it (and Alexis Hall's Paris Daillencourt is About to Crumble and Glitterland) This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

In today's episode, I'm going to talk about how I use Duotrope, a popular site for writers tracking their submissions to literary magazines, and give some general submitting advice/etiquette.https://duotrope.com/

Great recourses listed in the episode. Submission Grinder: https://thegrinder.diabolicalplots.com/ Submittable: https://www.submittable.com/ Moksah: https://moksha.io/ Duotrope: https://duotrope.com/duosuma/ Published to Death: https://publishedtodeath.blogspot.com/p/calls-for-submissions.html Horror Tree: https://horrortree.com/

This week Alex and Chris gave a concise, detailed "how to" for writers who have short stories they believe are ready to send out, but are not sure where to send them. Chock full of useful information, it's a must for emerging writers of any level. So, while you're putting together that list of agents, publishers, and online zines, give a listen here! Some places to go: In the Facebook Search box type: Open Call and the genre you're interested in, i.e.: OPEN CALL MYSTERY DuoTrope: http://www.DuoTrope.com Shot Gun Honey: https://www.shotgunhoney.com/ Have questions or comments for us? Post in the comments section below or ... Write: TTDSOnAir@gmail.com And follow us on ... @Tell The Damn Story www.Facebook.com/Tell The Damn Story Youtube.com/ Tell The Damn Story #amwriting, #writerslife, #authortips, #writingtips --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

I want to thank you for listening and for subscribing to Faster Than Normal! I also want to tell you that if you're listening to this one, you probably listened to other episodes as well. Because of you all, we are the number one ADHD podcast on the internet!! And if you like us, you can sponsor an episode! Head over to https://rally.io/creator/SHANK/ It is a lot cheaper than you think. You'll reach... about 25k to 30,000 people in an episode and get your name out there, get your brand out there, your company out there, or just say thanks for all the interviews! We've brought you over 230 interviews of CEOs, celebrities, musicians, all kinds of rock stars all around the world from Tony Robbins, Seth Godin, Keith Krach from DocuSign, Danny Meyer, we've had Rachel Cotton, we've had  the band Shinedown, right? Tons and tons of interviews, and we keep bringing in new ones every week so head over to https://rally.io/creator/SHANK/ make it yours, we'd love to have you, thanks so much for listening!  Now to this week's episode, we hope you enjoy it! —— Aubrey Hirsch is the author of Why We Never Talk About Sugar, a short story collection. Her stories, essays and comics have appeared in The New York Times, Vox, The Nib, American Short Fiction, Black Warrior Review, and elsewhere. You can learn more about her at www.aubreyhirsch.com or follow her on twitter @aubreyhirsch.  Today we're talking with Aubrey about Imposter syndrome, embracing criticism, and enduring the word “no”, amongst other sweetnesses of the creative life. This is a goody, enjoy!  —— In this episode Peter and Aubrey discuss:     2:14 - Intro and welcome Aubrey Hirsch!! 3:35 - Tell us about growing up, how you became a writer, and how you learned to embrace hearing the word “no”. 5:40 - On becoming a professional writer.  Ref:  Duotrope 7:40 - One is a number. Oh yes it is!  8:00 - How long have you been a full-time writer? Ref:  Aimee Bender 9:15 - On how it's still sort of a “This is how it's always been done” society. Ref:  “Black Boy” by Richard Wright  11:03 - On getting over the Sophomore jinx 11:52 - On her teacher Maureen McKeil's contextualizing rejection and keeping perspective 15:50 - Illustrations on Imposter syndrome  16:50 - How do you deal with rejection and Imposter syndrome? 19:24 - The story of Peter's first condo purchase 20:40 - On the battle between yourself- and You yesterday. 22:57 - How do you let yourself enjoy the successes you have achieved? 24:52 - What do you do to shut off, get away and unplug?   How can people find you?  @AubreyHirsch on Twitter  INSTA and via her website www.aubreyhirsch.com  Her book “Why We Never Talk About Sugar” is OUT NOW! 26:11 - Thank you Aubrey!  Guys, as always, we are here for you and we love what the responses and the notes that we get from you. So please continue to do that, tell us who you want to hear on the podcast, anything at all, we'd love to know.  Leave us a review on any of the places you get your podcasts, and if you can ever, if you ever need our help, I'm www.petershankman.com and you can reach out anytime via peter@shankman.com or @petershankman on all of the socials. You can also find us at @FasterThanNormal on all of the socials. It really helps when you drop us a review on iTunes and of course, subscribe to the podcast if you haven't already! As you know, the more reviews we get, the more people we can reach. Help us to show the world that ADHD is a gift, not a curse!  27:13 - Faster Than Normal Podcast info & credits TRANSCRIPT:  — Hi guys. My name is Peter Shankman. I'm the host of Faster Than Normal.  I want to thank you for listening, and I also want to tell you that if you've listened to this one, you probably listened to other episodes as well of Faster Than Normal.  We are the number one ADHD podcast on the internet, and if you like us, you can sponsor an episode.  Head over to https://rally.io/creator/SHANK/ It is alot cheaper than you think. You'll reach... God about 25….30,000 people in an episode and get your name out there, get your brand out there, your company out there, or just say, thanks for all the interviews we brought you over 230 interviews of CEOs, celebrities, musicians, all kinds of rock stars all around the world from we've had... God, who have we had...we've had Tony Robbins, Seth Goden, Keith Krach from DocuSign, we've had Rachel Cotton, we've had  the band Shinedown, right? Tons and tons of interviews, and we keep bringing in new ones every week, so head over to https://rally.io/creator/SHANK/ and grab an episode, make it yours, we'd love to have you, thanks for listening.  Here's this week's episode, hope you enjoy it. Hey guys, Peter Shankman welcome to our episode of Faster Than Normal. I hope you've been enjoying the summer. FTN has taken a bit of a break uh, to really just sort of get our brains back and do some travel and, and, and, uh, get outside and get some fresh air. It feels like about 16 months since we've gotten some fresh air. So it's nice to have done that, but we are thrilled to be back. And so glad that you stuck with us, although you probably just, this probably just auto downloaded and you didn't really have a choice as to whether because I mean, who knows how to unsubscribe to a podcast, it's the most annoying thing on your phone; they just show up and you dismiss them because come on, we don't have time for that.    Anyway, either way. I am still thrilled that you're here and I want to welcome our guest this week. Aubrey Hirsch. Aubrey. I found Aubrey on Twitter because she's actually very, very funny. And she's one of the few people on Twitter who make me laugh without rolling my eyes and that is a feat of, uh, no small regard. So Aubrey is the author of Why We Never Talk About Sugar, which is sort of story collection and she's right. And she is a graphic artist. Her stories, essays and comics have appeared in the New York times, Vox the Nib, American Short Fiction, Black Warrior Review, and elsewhere. She lives online @ www.AubreyHirsch.com She is on the interwebs @AubreyHirsch, and Aubrey is joining us today from California, where hopefully the weather is better, actually. It's getting sunny out. All right. So maybe the weather is the same. Welcome, Aubrey.  Thank you for taking the. Thanks for having me on. No. Cool. I was amazed. You responded, you responded so quickly to my, I was, I was DM-ing you? Um, when I, when I say to the DMS that, Hey, I'd love to have new podcasts. I was actually on the Peloton bike and so my endorphins and everything were like sky high, which is why I sent you like seven messages in a row. Each one continued just a little bit more info, as opposed to just sending you one with everything. So apologies for that. Um, but yeah, you responded really, really fast and I really appreciate you taking the time. Um, so w we're going to dive into imposter syndrome. The, the, the, the, the, the, our conversation is going to center on that, and I'm entirely in that.   It's going to be some of that. Tell me about your sort of growing up, becoming a writer per se. Writers and, and are right up there with salespeople as, as being, as at learning the word, no at a very early age and learning to deal with it. So, you know, I'm assuming you were in school when you were pitching and you were, you know, getting out of school and you sort of writing, you sort of pitching your stuff and you got, uh, When I was doing it in college, I'm probably a little older than you, I would get at least a courtesy of a reply. Cause we had to do these by mail. Right. We'd have to send out pitching for weeks by a mail. Now it's just email. So, you know, the, when they don't respond to, they say no it's much quicker and in your face and more hurtful. So talk about, uh, what it was like starting out and how you sort of learned to embrace it. Sure. Yeah, those were definitely some hard learned lessons for me. Um, like you, I started in the mailing era and how I got started is in college. I was actually was a chemistry major for the first couple of years and I took a writing class. Um, as a core requirement and for the final project of that writing class, our professor made everybody send a short story out to a literary magazine. So we had to learn the process. We had to put the cover letter together and we had to put it on an envelope and give it to her. She would look at it, you know, give us our grade and then she put them all in the mail. So I waited patiently as you do when these things happened by meal and definitely expected to know, you know, she told us everyone will get rejected, but that's how you are going to learn to get your first rejection. But, uh, I actually got an acceptance in the mail and was like, oh my God. You know? Well, this was like six months later. So it's like a different school year. And I told my professor and she was like, oh my God, you know, that's never happened before. That's so exciting. And so now of course, I feel like I'm some sort of genius, like who sells their first story that they've ever submitted. Like obviously, um, So, uh, I changed my major. I decided, well, maybe I hadn't better be scientists. I got some advice about, uh, getting an MFA degree, which is a degree I'd never heard of. And then of course I headed into like five solid years of nothing but rejections left and right. Like, not even like a positive thing where you get the rejection slip, but it appears that a human hand has touched it. There's like a little bit of ink on it somewhere. Or like, it's like the corners slightly bent and you're like, oh my God, like someone, uh, put this rejection and thoughtfully. No, it was all just like, we hate you. You have no talent. We wish you were dead. Don't ever talk to us again. It was like that. For many, many years, um, until I kind of figured out how to get like a little bit more strategic with it. And I found, um, do a trope, which aggregates statistics from writers who are accumulating rejections. And they'll tell you about like, Acceptance rates from different magazines and things like that. So I started targeting ones that had really high acceptance rates, figuring it'll just be good to have something in my bio because nobody knows these magazines. Like nobody knows them. All right. They don't know like one small literary magazine from another. Um, so as long as you just have something to say in your bio, I think that's helpful. I also started publishing poems. Um, because they're shorter. And so they take up less room in the magazines and magazines can publish more of them. So I published a couple of those. And then when I had a bio that started to look like maybe I was actually a writer, it became easier to get like generous reads, I think from staff. And then, you know, you can, like, I can remember seriously creating a course called pitching the strategy because that is. I've never. And I think that's probably the science side of you, uh, that, that comes in and looks at this as a, you know, as a, as a, as a, as an experiment, like, all right. My, my thesis statement is this, I'm going to test this.   I love that. But you went and looked at who has higher acceptance rates, and then use that. I remember. When I turned 30, uh, as I say, years ago, I wanted to, um, throw a party and I convinced a company, one company to sponsor it. And then on that strength, that one company, I send emails out to 100 different companies and said, I have a number of sponsors on the premise that one was a number and that's what you have to do. Right. And so, so it works.  That's awesome. It is.  So how long have you been to, how long have you been writing now and, and calling yourself a writer and, and pitching and getting kind of gets easier. I mean, over time you start to develop the relationships with the editors and things like. Definitely. Yeah, it gets easier. And people start to like, know you a little bit and you start to have people who ask you for work. Um, which is great. I, that's a good question. I mean, I, I always liked to write when I was little. I think I just, I thought, you know, because in school we, we never read writers who were alive. You know, until I got to college. So I kinda thought like, saying that you want to be a writer was like saying one should be like a blacksmith. Like, it would be fun, but you missed the window, right? Like that's, that's done now. The books have all been written. So you have her find something else to do and no more books to write, sorry, that's it it's over. And then when I was in college and I read like Aimee Bender and so I was like, oh, damn, like, oh, okay. Like chicks do this. Oh, that's cool. And then like, you could do this now and you can do it like, so it sounds like more interesting. And you're talking about like more, um, current topic. Like I know that like, sweet. Uh, so it started in like a more concerted way then, like in college. And then I went right from college to my MFA, which is a funny story also. And then, um, you know, it kind of went on. I think that's one of the problems that you've, you've touched on the problems is that is that we are still very much a that's the way it's always been done type of society.   Um, you know, I can list every single book that I was required to read in junior high or high school. And then on a much shorter list, I can, I can remember every single book I was required to read in junior high or high school that actually touched me. Um, you know, and I remember, uh, the, the one that did and still to this day does, was Black Boy by Richard Wright. And I have probably read that. A dozen times since I had to read it in high school. And, you know, I mean, I love Shakespeare and I read ByroN and things like that. But, but to look at, um, the stuff that we were sort of forced to read it, put, I think every student has, it's very rare to have a student that doesn't get that bad taste in their mouth because they're forced to do it. Right. And they're forced to do it. People that died 300 years ago. Any words that aren't spoken today? Um, you know, I remember, uh, when I was, I think it was in college when, uh, Bosler, mins, Romeo and Juliet came out with Claire Danes, Claire Danes, who now is the mother of my daughter's school friend, which is just weird shit because she's two and nothing else, but I'm in my head but you know, I remember watching that movie and hearing Leonardo DiCaprio speak in, in Shakespearian. Okay. Okay. Now it makes sense, right? Because when you're reading something by a 400 year old dead guy, everyone in there, no matter how, you know, Juliette was 13 by, she sounds like a 400 year old dead woman and so it takes that, you know, you have to sort of look, I don't think we're smart enough at that age to sort of put that into perspective. So, so you have been doing this for years and let's, let's move on. Let's talk about the concept of rejection because you said, yeah, I got my first hit and then nothing for fighting.   I mean, that's actually, I went out on my own for the same reason. My first job with America Online was fun. And when I got laid off from there, I got my second job, assuming it would be fun. And every job after that sucked and like, that's okay; you, you experienced the, not the norm to begin. So that knocks you around a bit because you're like, wait, this is supposed to be easy.   It was easy. The first. Yeah. Yeah, I definitely did have the, the very, very, very deep seated fear that like, oh, maybe I just only had that one bad story in me. Like, did I, did I peak? Did I write my one good story when I was 19? And then that's it. That's all I got. I got nothing. Um, and that, that was hard, you know, it didn't feel good, obviously. Luckily for me, I had a very, very good undergrad professor Maureen McKeil a science fiction writer. She's the one who had us do that final project to send out a story. And because she wanted to get out in front of it and insulate us from the terrible feelings of rejection, she put it into perspective. In a way that when I was teaching, it was like my only goal as a professor was to do that same, give my students that same gift of like contextualizing the rejection to say, this is not personal, this is not a comment on your talent, this is not a prediction of the future. This is one particular reader on one particular day. And that one particular magazine took a pass. You know, it's not that deep and you shouldn't take it like it is. That was incredibly helpful for me. And I think it allowed me to like kind of power through all those years. And I also think those years are really important too, because when I wrote that first story, I didn't have any foundational fiction writing education. I was just. Writing it, you know, I was just writing a thing that was in my brain and I put it on the paper. Right. Then I had the unfortunate experience of getting a lot of creative writing education. That were like you no, no, no, no. Showed on towel. Like, no, no, no. Not with that. You know, like this is too fast, this is too slow. Um, and also this like constant. Forcing into us of like the quiet domestic realism of the stories that you read in graduate school. Right. Of like the, the man at the bar smoking and like the, the guy in the unhappy marriage, uh, at home breaks his glasses. And that's the huge, like pivotal moment of the story, like the broken whiskey glass, you know, or whatever the thing is. And that was just not, I think what I was supposed to be writing, but I was trying, and it was not good. So it wasn't until after graduate school, when I kind of like. She was able to shake that off and no longer had to give my manuscripts to 10 other students who were in the same class and think about, you know, what they were going to say. It's like, you can almost run the workshop in your head and you're writing to those people. I was just writing it, you know, for myself that I kind of rediscovered the kinds of things that I wanted to write about. And that was when I started getting published. Freer. I mean, a lot of what I remember.  Uh, you know, when I first started, cause I have, I have a journalism background as well, I mean, I, I went to BU as a Journalism major, and I remember that a lot of what I was dealing with at the time was writing things in a very specific way that they wanted to see them, even if it didn't feel right. And when it didn't feel right, I had a really hard time getting it on paper. Um, I have my editors now for all of my books and they're like, We we know exactly what you want to say, we just need to clean it up a little bit, but you know, how did you, how did you come to the point where you just got it down? I'm like, I literally just, I, I booked a flight somewhere, sat down for eight hours and rode, I vomited out for eight hours and here's, here's the result. Um, but yeah, you, you, you are, you're taught, I think the same thing also as a kid in like math class. Showing my work was always horrible, but I was never going to show you my work, but I could get the right answer in my head and that should be worth something that's going to, if I ever start an education, like a cult, it's going to be even not having to show your work; that's something I think, um, talk for a second. So, so, you know, getting, and I'm sure you still get rejected from time to time, right? We all, we all have that, um, you know, going after a speaking gig, someone else gets it. I wanted it, whatever. So the teacher gave you that brilliant, brilliant insight, the concept of not taking it personally. And I wish someone had told me that the same way. I mean, it's still, uh, it still stings, right? It doesn't sing anywhere near as much. And I've worked really, really hard. And I, you know, with a wonderful therapist for like 20 something years, I'm about nine you're saying, but the concept of imposter syndrome is all too real no matter what you do, it is an existing thing. It, it exists. It's there. Um, It is. I find it's very easy. Uh, when it comes to imposter syndrome to go down a spiral where, you know, you start with one thing and then you happen to notice another thing and you happen to all of a sudden you've, you know, it's like when you see a red car and then you see 50 red cars, all of a sudden you've seen every single, uh, insult or, or, or response to a tweet or whatever. Um, you haven't seen any of the positive ones because you're not looking for them because you're so now focused. On the negatives and assuming you're the absolute worst person in the world. Right. So, and, and, and for guys, you got to see what, what, what, what Aubrey tweeted? Um, a couple of, I guess we, couple weeks ago it was from money Python. It was the, uh, oh, it's just a flesh wound. It's the, guy's getting his legs cut off in his arms, cut off. It's brilliant. And it's exactly that it is how you feel, but you get enough of those slush wounds and, and you're gonna die. Right. And so what do we, so what have you learned. That you can share with the audience in the world? How do you deal with it? Because you know, as talented as you are sometimes, we are not going to please everyone. Definitely.    I mean, well, like, first of all, for clarity, I definitely want to say it still feels terrible, you know, it's, it's always painful. It doesn't feel good. And I think especially now, like in the age of Twitter, you're on there for five minutes, get consumed with professional jealousy. You know, it's like here here's, everyone's like publisher's marketplace screenshots and oh, look, I'm an indie bestseller. And like, oh look, I'm a finalist for this award that you have never even heard of. And like, can't wait to go into my writing residency. Yeah. You know, whatever fancy it's, it's really hard. It's just, it's all in your face all the time. And of course not enough of us are talking about. The rejections alongside of those things. Like, it's not like here's my one tweet about my birthright writing residency, and here's my 15 tweets about the ones that rejected me for all these years. And some people do. And I always love seeing that, but you know, we have to like, keep that in mind for context also, I think like it's helpful to. I always think about the most insidious part of imposter syndrome being the kind of like moving goalpost. I did a panel at AWP one year about imposter syndrome and one of the questions they asked us is like, when did you start to feel like you belonged there? And I was like, um, I'm still waiting. I don't know. I remember going, I remember going there like as a grad student and being like, well, I, you know, I've only published one thing, so obviously I don't want it. Then once I'd published many things, it was like, okay. I post many things, but like, I, I don't have a book. I mean, you got to have a book. Right. And then I had a book and it was like, well, it's short stories. It's not a novel, you know, I haven't published a novel, so I don't really go on here. It's like, I have a teaching guide, but it's not tenure track. It's like, well, okay. I have a tenure track job, but you know, I'm not like the fit and you can't, you'll never get it. Like, it's always, the next thing is. I'm going to make you feel secure in your identity, your professional identity. And I think like the sooner that you can come around to that idea that it's not real, the easier it is to kind of live in the feeling of your professional identity that you have now. Um, and that kind of like makes me feel more comfortable. That's a brilliant way to think about it. It was funny when I sold my last company. Um, I've never told this story before, and I can tell you because you'll, you'll appreciate that reference. Um, I sold my company around the same time that someone, the person who owned media bistro sold hers. Um, and we all know who that is. Lovely, lovely person invited me. I had just sold my company and it was about a year later and I had just bought my apartment and we were in touch and she invited me over to her house or her apartment in the city was she had just bought as well. And I was all excited cause I had this, I bought this two bedroom condo and man in New York city a two bedroom condo means you've made it! And I walked in and she had bought a floor. And the top floor and it had roof access and she's like, oh, you gotta look at the outdoor shower… and when I got home I remember walking in and saying I hate this fucking apartment and just three hours ago it was the greatest purchase of my life. Yeah. And that is literally what we do. And, and, you know, I had someone, a friend of mine said, dude, there's always gonna be a bigger, yeah. He goes, where is the apartment you're in now bigger than the one you're in 10 years ago. He's like, start there, you know?    And that's, that's a good way to think of it, but you're right. There's always going to be someone. And, and what you mentioned about seeing everything online, of course, no, one's going to post their crap days.  I, you know, I'm training for a big iron man triathlon right now. And I post, you know, after every run, I, I post a great run with a great times as opposed, to the eight fucking two times I used to even stayed in bed all day. You know, we don't share that stuff. So I think that the battle has to be between you, and you yesterday. Between you and everyone else.  Yeah. I think that's a great way to look at it. And I also think we describe other of people's successes to like their talent and hard work.And we just, we describe our own successes to like a lucky break or like a weird, like, I remember when I would always read Modern Love in the New York Times and be like, oh my gosh. And I would see people Facebook status, like. I would be like, oh my God, I'd be like consumed with like jealousy and burning inside. And then I published a column in Modern Love and I felt very much like, oh man, I don't know how I snuck in there! Haha! Like, like no, and people would be like, oh my God, I'm so jealous. And I'm like, really? It's like, it was nothing, you know, it was just like a weird, random, like lottery draw. Right. But of course, when it's you, it feels like that when it's everyone else, it doesn't feel like that that's phenomenal. I mean, the story that I tell to everyone is every morning I wake up and I'm sure that today's gonna be the day that the New York Times has a front page story on how I'm such a fraud. And it's all love every day when they don't well obvious, obviously, because I'm not important enough because you know, time to do a front page story. It is literally every single day. And, and, and somehow we wake up and we put on the face and we, we, we, you know, Get dressed and we get out there and we do it again. But yeah, it is, it is brutal, um, in that regard because it is very, I think that the more success you have, the easier it is for imposter syndrome to reel its rear its head, because you just get there, the more success you have, the more you're surrounded by other successful people. And if you're believing that yours is the only one who's fake and everyone else is real, it's constantly become, why are they letting me to this club?   Yeah, definitely. Yeah. And there's always going to be the thing that's going to, you know, prove it to yourself. And then when you achieve that thing, the next thing is just right there. Just out of reach. So talk to me to two more questions. Talk to me. Number one about how do you let yourself enjoy the successes?   Yeah. Oh man. Yeah. That's that's tough one. I don't know. I mean, I definitely do. I definitely do enjoy them. You know, like whenever I have a piece go live, I get excited. It feels really good. You know, like I tweet it and then I, I like very excited to watch my notification. To get that sweet, sweet internet validation that we all need. Um, you know, I have gotten to a place like where I really truly hate to say this out loud because I sound like an asshole, but where I can kind of like see it for its own thing and feel good about having made it, you know, like all be like- I'm proud of myself because I made this thing and it looks really nice or like, oh, my drawing skills are getting better or like I'm getting faster. You know, that's the thing I've been working hard on too. It's like making a comic in a shorter amount of time and having the quality of it. And it's kinda, it's like a nice place to be where you can get like a little bit and, you know, don't worry. Like I still definitely run on Twitter likes, but I have like a little bit of, uh, internal validation happening.   That's phenomenal answer.    You know, it's the ones that I post that I don't, that I think are just whatever that wind up getting, you know, 15,000 likes. And then it's the ones that I really worked hard on to fight you. People are idiots, this is gold all the time. Totally. You can't predict it. Like there'll be a comic 30 hours making it and like, I've researched it like crazy and I think it's like so good and brilliant. And it's like 18 likes and two stars and then it's like you post a selfie in the car where the light is really good and it's like 3000 likes. You're like, what the fuck? What are we doing here?  Last question I want to ask you; I want to respect your time. Um, tell me about. What you do to shut down? What do you do to shut off? Where do you go? How do you get away? Cause it's it's it does seem like us like me like that. You're you're, you know, you live online. So when you shut down, when you shut off, where do you go? What do you do? How do you make that a part of it?    Hm. Um, yeah, that's a good question. Well, I don't have a ton of time to do that because I have two small children and as I'm sure, you know, there's still childcare crisis going on. Um, but I do like, I'll play like dumb games on my cell phone just to kind of like spend some time associating or I will, um, binge watch, terrible television. I have watched. I'm not too proud to say that I have watched two full seasons of Bachelor in Paradise from beginning to end, the whole thing I've watched. Um, yeah, it's really not. It's really not. Or like, I'll watch a movie that I've already seen before, you know, that's just like a comfortable place to be. And I know that I know exactly what it's going to do to me emotionally. It's not going to, there's no surprises there. You know, I can just like fold laundry and like, let that kind of wash over me.  Very cool. This has been a lot of fun. I really appreciate you taking the time..    Guys talking to her Aubrey Hirsch. She's the author of Why We Never Talk About Sugar, a short story collection. Uh, you can find her at www.AubreyHirsch.com and she's on Twitter where I found her @AubreyHirsch  She's a very quick responder, I'll give her that already. Thank you so much for taking the time. I really appreciate it. This was wonderful.   Thanks so much for having me. Next time you have something to promote. You have a story out. We'd love to hear. Awesome.   Guys is always Faster Than Normal. If you like what you heard, we'd love it if you left us a review, everyone does, you should too. You don't want to be the one person who hasn't done it, but you can find us on www.FasterThanNormal.com you can find a single podcast. You can find us on Spotify on Amazon. You can even find us on Alexa. You can literally say Alexa, play fasterthannormal.. Crap. My Alexa is just totally gonna play that now click on the.. cancel!@ but it'll do it. And any way you want. And if you have a guest that you think would be as cool as Aubrey, let us know, you can send me an email. Peter@shaman.com DM @fasterThanNormal or @petershankman and we will get that guest on the air. Thank you so much for listening. Our producer is Steven Byrom. He is awesome. We love him. [He loves We too even though this transcript may not be 1million percent perfect]. Have a wonderful day. We'll see you next week, ADHD, and all neurodiversity are gifts, they are not a curse keep reminding yourself of that! Talk soon. —— Credits: You've been listening to the Faster Than Normal podcast. We're available on iTunes, Stitcher and Google play and of course at www.FasterThanNormal.com I'm your host, Peter Shankman and you can find me at petershankman.com and @petershankman on all of the socials. If you like what you've heard, why not head over to your favorite podcast platform of choice and leave us a review, come more people who leave positive reviews, the more the podcast has shown, and the more people we can help understand that ADHD is a gift, not a curse. Opening and closing themes were composed and produced by Steven Byrom who also produces this podcast, and the opening introduction was recorded by Bernie Wagenblast. Thank you so much for listening. We'll see you next week. 

Once you're done with your novel or story, what do you do? Edits? Submissions? Beta readers?  Dongwon Song's Newsletter  Agent Talk (I mistakenly call it Ask an Agent in the audio) Fancy water bottle Jennifer Udden's Newsletter  Absolute Write  Snowflake Method  Query Shark  Becky Chambers  Submission Grinder  Duotrope  Latest Twitch/YouTube stream times: Monday, 12:30, AMA/Hangout Tuesday, 3:00, I Should Be Writing Live Wednesday, 4:00, Gaming: Stardew Valley Thursday 12:30, I Should Be Writing Live * All times EST February 23, 2021 | Season 17 Ep 15 (Ep 566) | murverse.com Copyright 2005-2021, Mur Lafferty | BY-NC-SA 3.5 License

Do you want to get paid for your poetry? Orna Ross, director of the Alliance of Independent Authors, interviews Trish Hopkinson about submitting poetry to paying publications in this month's #AskALLi Self-Publishing Poetry Advice Podcast. Trish has cross-referenced several lists of outlets, including those that use Pushcart Prize Rankings, literary magazine reviewer expertise, other online writing experts, and Duotrope to create a super useful list of paying markets for emerging poets. In this session, Trish shares her considerable knowledge of the poetry marketplace, and her submission tips to ensure you give yourself the best chance of success. Trish Hopkinson is a poet, blogger, and advocate for the literary arts from Utah, USA, where she runs the regional poetry group Rock Canyon Poets and folds poems to fill Poemball machines for Provo Poetry. Her poetry has been published in numerous literary journals, online and off, including Tinderbox, Glass Poetry Press, and The Penn Review, and her most recent e-chapbook Almost Famous was published by Yavanika Press in 2019 and is free to download here. You can find her online at trishhopkinson.com. Tune in for discussions on a different theme each month with a focus on developing prosperity for poets through community building and self-publishing. Find more author advice, tips and tools at our Self-publishing Author Advice Center: https://selfpublishingadvice.org, with a huge archive of nearly 2,000 blog posts, and a handy search box to find key info on the topic you need. And, if you haven’t already, we invite you to join our organization and become a self-publishing ally. You can do that at http://allianceindependentauthors.org. About the Host Orna Ross Orna’s work for ALLi has seen her repeatedly named one of The Bookseller’s “Top 100 people in publishing.” She launched at the 2012 London Book Fair, after taking her rights back from Penguin in 2011 and republishing her books herself, with the titles and treatment she’d originally wanted. Orna writes award-winning poetry and fiction, runs a Patreon page for poets and poetry lovers as well as an active author website. She is on a mission to help eradicate creative poverty through digital publishing and enterprise. You can find her on Twitter and Instagram: @ornaross.

Jeannie and John chatting about how they get inspired to get things done, as well as keep track of what they're writing and what resources are available. … Continue...Episode 21 – The Inspiration to Get Things Done

Do you write short stories? Our writers (and guest lawyer) discuss the difference between an Anthology and a Collection. Also for new writers - how do you know you’re being successful? How do you measure progress? Special guests return - Karen Brenchley and Judith Szepesi … Continue...Episode Nine – Anthologies, Collections, and KPIs

This episode completes our Sarah-fiction double-feature with guest Sarah Hollowell (@sarahhollowell). Sarah reads her story, "Several Emails Regarding a Ceiling Fan and a New Kitten," and we talk about some of the differences between genre-focused writing workshops and creative writing programs at colleges. Also: rejection. It's a thing that's going to happen to you as a writer. On this episode, we make a passing reference to pay rates without actually explaining what they are. Accoring to the Science Fiction and Fantasy Writers of America, SFWA (SIFF-wa), pro rates for short fiction, as of this episode's airing, are $0.06/word or above (although these rates are being raised later in 2019). Anything below that rate but above $0.01/word is considered semi-pro, and anything below that is considered token pay.   Things mentioned in this episode: Duotrope (paid) and The Submissions Grinder (free) RIP to Shimmer Magazine "Crow's Eye," by Sarah Hollowell Alpha, the Science Fiction, Fantasy, and Horror Workshop for Young Writers Annihilation, by Jeff VanderMeer The art of Galen Dara "Every Fat Person, Healthy or Not, Deserves Respect," by Sarah Hollowell for The Huffington Post Texts from A on Frolic (as of this airing, this series is now appearing weekly) "Hello, Wild Things, and Good Luck," by Sarah Hollowell Michael with a B   Join us again on May 17th, with guest R. K. Duncan!

In this episode I give you my top three tips for a successful month of writing an introduce the new StoryADay Superstars program: http://storyaday.org/storyaday-superstars (membership comes with a month of free access to Duotrope, my favourite online source for writing markets)

For your writing enrichment this summer, the show recommends podcasts at Writers and Company and KCRW's Bookworm. That you subscribe to CRWROPPS Yahoo list-serve for writing markets, residencies, and job posts, or Duotrope and set up a Submittable account. Subscribe to Nita Sweeney's email list Write Now Newsletter for information on writing events in Columbus, Ohio and be sure to donate to cover the costs of keeping up this important service to writers. Check out Women Who Submit Lit for their inspirational submissions slam (contact me if you can help me to set up a Columbus satellite!). And finally, get over to Grammercy Books in Bexley for all your summer reads needs, and most especially for Nick White who will be reading from his fine novel How to Survive a Summer at Grammercy on June 29 at 7pm. Enjoy the show!

We tackle questions about Duotrope's recent decision to charge for its services, how to give a good literary reading, and whether it's okay to drink while writing.