Sundress Publications is open for submissions of pitches for short anthology projects. Anthologies would be published as part of Sundress’ e-chapbook series in 2021 and would be available for free download on the Sundress website. These anthologies will be limited to 50 pages of content.
All editors are welcome to submit pitches for qualifying projects. We are especially interested in projects helmed by or focused on amplifying the voices of BIPOC, trans and nonbinary writers, and writers with disabilities.
Pitches should be approximately 250 words and include:
Potential authors editors would like to solicit
Example pieces of work to be included
Outline of a plan for the editorial process
Why editors believe the anthology is important to the contemporary literary landscape.
Editors of selected pitches would solicit and read work for the anthology project with Sundress-backed support in submission curation, contracts, proofing, promotion, and design. Sundress Publications will also provide a small budget to selected projects ($250) that may be used to pay editors for their work, or contributors, or both, as the editor deems appropriate.
To submit, email your pitch (DOC, DOCX, or PDF) to email@example.com. Be sure to note both your name and the title of the project in your email header.
The deadline for submissions is September 30, 2020.
Sundress Publications is excited to announce that Anna Black and Brynn Martin will be taking the helm as our new chapbook editors. The two sat down with our editorial intern Nicole Drake to talk about some of the exciting titles and projects ahead of them. Black and Martin discuss their most treasured writing advice, some of their unique passions (natural building, embroidery), and the idea of editing as working toward a shared vision with the author.
Nicole Drake: How did you come on as an editor for the Sundress chapbook series?
Brynn Martin: I’ve worked for SAFTA since 2016 in a couple of different roles but I’ve always expressed to Erin that I’m interested in publishing/editing and the whole process of how a book comes to be. So when the editor position came open for the chapbook series, I jumped on it.
Anna Black: Sundress brought me on as an intern a long time ago. Since then I have worked as the editor of the Lyric Essentials series, the Poets in Pajamas curator, and now the Staff Director. Not all at once! I’ve been the assistant editor for most of our books over the last couple of years, and Erin knew I loved the editing side so of course when she asked me to, I was happy to be able to take on some chapbooks as an editor.
Drake: Can you give us an introduction to you and what you’re excited to bring to Sundress as an editor?
Black: My favorite works to read (and write) are eco and nature-based blow-your-hair-back-lick-your-neck words that rock with hard-core intersectional feminism and at least some hint of the grisly or magical. I love art and things that are weird — hybridity thrills me to the point of glee. I’m not sure what else there is to know about me. I’m a disabled, bi, animist, vegan Libra married to a Scorpio — we live in the PNW.
As an editor, I like to think that I’m looking not for what’s wrong (though that’s what people think of when they find out you’re an editor) because the book made it through our board and our judges to get selected in the first place (and we’re rigorous) so there’s not much wrong by that point.
But more that I’m hoping to use whatever vision I may possess by letting the writer look through my eyes. As when you point out new things to visitors in your town — you share with them a bit of the magic you’ve picked up by living there and knowing the space and when you point out the sculpture made by your friend or share the violent histories of your town, you see them shift, come alert, and spark with a connection born through seeing anew. I guess that’s what I hope to do as an editor more than anything — to let our writers see through my eyes and see their work in a new or deeper way. If we make a few changes here and there, together, along the way, then it’s because we shared a vision. So I guess that’s what I’m hoping for above all.
Martin: I’m a poet, Kansan, cat person, emerging foodie, and amateur macaron baker. I find a lot of peace in painting, embroidery, and other creative pursuits as well.
I’d say I bring my sense of humor, my passion for poetry, and my queerness to Sundress. The teams at Sundress and SAFTA are easily the most representative and welcoming that I’ve ever been a part of and it’s been refreshing to find a space that honors who I am while also allowing me to grow into my voice more.
Drake: What is the difference between a poetry collection and a chapbook?
Martin: The difference is primarily in the length; poetry collections are book-length manuscripts that run about 80+ pages. Chapbooks are often much shorter, between 10-30 pages. Because collections are longer, they will cover several topics and balance many themes, whereas a chapbook typically focuses on one theme or idea.
Black: Primarily the difference is the length. Full-length poetry collections are 45+ pages and chapbooks are “something less than that.” But it’s not as if chapbooks are unfinished collections. A good chapbook works within a shorter length and makes it a strength. A reader shouldn’t feel like the work has been cut short or that something is missing — so I guess rather than focusing on the length alone I would say that a chapbook is a book of poetry (or something else) that is at its best around 20-35 pages.
Drake: What projects are you working on now and what do you have coming up?
Martin: I run the Sh*tty First Drafts podcast with my roommate and friend Stephanie Phillips. We release new episodes about every two weeks, so follow us on social media and/or Spotify/iTunes/Google Play to see when we drop a new episode!
I’m also working on a manuscript of my own that I hope to send out this summer. Keep your fingers crossed for me.
Black: We just launched Hannah V Warren’s [re]construction of the necromancer which is an incredible chap that retells the Hansel and Gretel story in a skin-tingling feminist way. It’s witchy and wonderful in every way and Hannah and I made a few changes along the way that were just what I mentioned above: a shared vision. I’m really proud of this book and I know Hannah is, too.
Coming up: I’m still the assistant editor for most of our books so I’m buried right now as we try to get everything out the door for AWP. But if you have the chance, you should also check out Bury Me in Thunder by syan jay. which is just — wow — it’s an incredible honor to be a part of this book in whatever role. And we’re about to release The Familiar Wild, an anthology on dogs edited by Rachel Mennies and Ruth Awad. We’re about to release our first fiction title, too, by Robert Long Foreman, I Am Here to Make Friends — it has charts. Oh! And Maps of Injury is coming out, too. Chera Hammons’ writing is a pleasure. As a person who deals with chronic illness, this is a collection that will just shatter the ideas most people have of what an ill body is like.
Personally, I’m working on a few projects including a novel, my second poetry collection, and a couple of visual art and photography projects. I need more sleep.
Drake: Do you have a favorite poetry collection or chapbook from 2019 still rattling around in your head?
Martin: Oh man, so many! I read The Carrying by Ada Limón most recently on a trip to the mountains. I admire her work so much. Franny Choi’s Soft Science is also stunning — no surprise there. I Can’t Talk About the Trees Without the Blood by Tiana Clark was also a favorite, though I think it came out at the end of 2018. I could go on. There’s so much kick-ass poetry happening right now.
Black: Ruth Foley’s Dead Man’s Float was a world rocker for me. And Amy Watkins’ Wolf Daughter. Oh and Lessons in Breathing Underwater by HK Hummel. They were so good! I liked all of our 2019 titles, to be honest. This is too hard.
Drake: What book have you reread the most in your life?
Black: Oh um…okay you’re going to laugh. Probably Clan of the Cave Bear—the series up through the Mammoth Hunters. Though I haven’t reread it in many, many years—I’m afraid to. It would probably offend me now. I’d say it probably has the record though given my recollection of my twenties. There’s something about a book that grips you in your early years in a way that never leaves you and changes your view on the world. That’s special. I’d also have to say Mists of Avalon but not in many years and that was before I knew there was a controversy around the writer. In more recent years I turn to Loba, Woman and Nature, Bright Dead Things, The Chronology of Water, Gathering Moss, Object Lessons, We Who Love to Be Astonished—I’d better stop.
Martin: The most honest answer is probably The Very Hungry Caterpillar by Eric Carle. I loved that book so much and had it read to me so often as a kiddo that I’d memorized the words and would “read” it to myself before I’d ever learned how to actually read.
In more recent years, The Book Thief by Markus Zusak. Breaks my heart every time.
Drake: What do you look for in a chapbook that really sets it apart from the rest?
Black: Well, the chapbooks aren’t chosen by an acquisitions editor at Sundress. They go through readers which include our board and then after the initial winnowing to the finalists, to a judge. So it doesn’t matter much what I like in that sense except that as a board member I do read like everyone else. I guess, though, that I’m always hoping for a chapbook that causes me to make little grunting sounds—which I do when something strikes me as I read. It’s like an “ungh” sound. Something like a person makes when they take the perfect bite of their favorite dessert. Which is to say, I want to be touched. I want to cry. I want to be mad or hurt or surprised as I read. I want to feel for the speaker. I want to feel present and absorbed. I want to hear it breathe in my head. I want to forget I’m reading.
Martin: I appreciate chapbooks that hone in on one thing: whether it’s an exploration of a relationship, or a theme, or even one image. Chapbooks that are focused and feel like one complete unit. Which is not to say that they can’t do weird or experimental things. In fact, I think a narrowed focus allows for more room to play and explore.
Drake: Do you favor the classically excellent or more innovative, experimental works?
Black: When I make my personal choices for reading it’s probably obvious by now that I bend toward the experimental, the strange, and the things that have been hidden from us all for far too long. But that’s just how I lean personally and not a rule. I’m not usually going to reach for things that aren’t pushing boundaries but when they happen into my life, I’m no less glad to have read them. As an editor, I honestly have no preference. I think there is room for all of the words except the hateful kind. There is incredible joy in an accessible poem. I love those, too. And just as much.
Martin: It probably sounds wishy-washy, but I have to say both. Innovative and experimental works can be really exciting and captivating, but only if those choices are grounded by craft. Using something like caesura for its own sake, rather than to illuminate or complicate something in the poem, is counterproductive in my opinion.
Drake: What is the most useful editing/writing advice you have ever received?
Black: Sally Ball taught me to read manuscripts in side-by-side view and I use this every day now for Sundress and with my other work as an editor, and I’m so thankful she taught me that and much more about close reading and pulling things out from the back edges of your brain so you can look at them…about when to fight over a cow, and when to let it go—she really is an incredible editor and one I aspire to be more like.
Martin: That it’s okay to not be writing all the time. So often advice to young writers is about a schedule and producing as much as possible and all these arbitrary things that you can only really do when you’re in a position of extreme privilege. Letting go of the expectation that I had to sit down and write for two hours every day to be considered a “real” writer was incredibly freeing. Everyone works at their own pace and in their own way.
Drake: If you could live as the villain in any book–across all years and genres–who would you choose?
Martin: Probably someone like Professor Moriarty. Having seemingly unlimited access to money and power is pretty sexy, not to mention getting to mess with and outsmart the hero. Plus, Andrew Scott’s portrayal in the BBC adaptation is spectacular.
Black: In Griffin’s Woman and Nature there is this horse. While not exactly a villain, it’s being tamed, or rather, some man is trying to tame the horse. And the horse is resistant and full of fight and passion and has these threatening hooves. And I guess it’s not really a villain but it is to the man, right? I want to be that horse. That daring, blasphemous, dangerous, wild horse. Or Medusa. I’m probably already Medusa.
Drake: As an editor, have you ever experienced regret at a line you absolutely adored but had to cut for the greater good? A literary “one that got away”?
Black: Hmmm, no? Not one that comes to mind anyway. Cutting is a good thing. It should be done when called for, and without compunction when necessary. But the trick is to know when it’s necessary, right? It may seem it, but then you read it back and realize that something was lost. So you put it back in. Cutting is never permanent. It’s like being able to try on any haircut with no regrets. That’s what makes editing fun — it’s not risky unless you’re mean to the author.
Martin: In my own work, absolutely and all the time, especially as a young(er) writer. I wrote lots of lines (even whole poems) that seemed, at the time, completely genius but were ultimately too saccharine or abstract to work. You have to be willing to be pretty brutal with your own work, in my opinion. Most of the poems that I’m proudest of are ones that were completely overhauled in their structure, form, image systems, etc.
As an editor for Sundress, not so much. Most of the work we accept is polished and more-or-less ready to go. Much of what I do is more about copy-editing, small edits for clarity, and working on ordering.
Drake: Finally, what is one non-editorial, non-bookish thing that you truly enjoy doing?
Martin: I mentioned this before but something I’ve gotten into recently is embroidering. It’s something to keep my hands busy while still allowing me to feel creative. The rhythm of it is really calming, too. I post my pieces up on Instagram @BrynnsieCrafts, if that’s something you’re into.
Black: Non-bookishly I love to kayak. I’m also a photographer. I love boats, natural building (cob, earthships, strawbale, earthbag and anything that equalizes housing). I frequently blast music like I’m still 17, so I must like it. I can easily be convinced to go to art galleries and studio tours, to spend time gardening, and doing anything that involves me getting to hang up my hammock. I can break the bank in an art supplies store. I’m not good at math.
Anna Black‘s work has appeared or is forthcoming in Collagist, The Seattle Times, Hotel Amerika, 45th Parallel, Bacopa Review, Wordgathering, SWWIM, The American Journal of Poetry, and New Mobility among others. Black received her MFA at Arizona State University. She works as an editor and web operator based in the PNW as well as the Staff Director and an Associate Editor at Sundress Publications, and the poetry editor for Doubleback Review. More of her work can be seen at http://bylineblack.com.
Brynn Martin is a Kansas native living in Knoxville, where she received her MFA in poetry from the University of Tennessee. She is an Associate Editor for Sundress Publications and co-host of the podcast Shitty First Drafts. Her poetry has appeared in or is forthcoming from Contrary Magazine, Rogue Agent, FIVE:2:ONE, and Crab Orchard Review.
Nicole Drake is a graduate of Florida State University with a BA in Creative Writing. She has served as a reader for the Southeast Review and the Seven Hills Review and currently works as the Social Media Manager for Capital City Tattoo’z. She teaches dance and works her way through her endless “To Read” list in her spare time.
Jackie Vega: How did you come to be involved with Pretty Owl Poetry?
Kelly Andrews:Pretty Owl Poetry was founded in 2013 by myself, Gordon Buchan, and B. Rose (Huber) Kelly. At that time, I was just starting my MFA program at the University of Pittsburgh and was involved with the program’s online literary journal, Hot Metal Bridge, as a reader, but I wanted more experience as an editor. I reached out to Gordon, with whom I had taken creative writing classes as an undergraduate at Indiana University of Pennsylvania (IUP), and Rose, who I had befriended while she still lived in Pittsburgh (she’s now in New Jersey). I had relationships with both in terms of sharing work and giving/receiving feedback, either via e-mail (w/Gordon) or through a low-key workshop setting (w/Rose). Though we were all IUP alums, Gordon and Rose didn’t know each other before Pretty Owl, and Rose and I met post-graduation through a mutual friend. All of that to say, they both were people who I trusted as writers and editors, whose taste in literature was similar to my own, and who had different skill sets than I do. From conception of the journal, we’ve worked collaboratively in all that we do when it comes to Pretty Owl, including decisions about how best to move the journal forward in the literary world. I feel incredibly lucky that I get to work with Gordon and Rose on a journal we started from the ground up—they’re both such talented friends.
JV: How would you describe your poetry aesthetic, and how do you bring that to the publication?
KA: I’m mostly drawn to gritty poems with substance. Ones where the emotional motivation of the speaker is believable, though the poems needn’t be set in reality or be realistic, if that makes sense. Gage Ledbetter’s “Fully Drawn, Steady Breaths” from Issue 9 is one of my favorite examples of this. The imaginative space in which the speaker exists with their mother and the canyon is exquisite: “Your mother taught the canyon how to shoot a bow, being a champion, herself. The canyon felled entire flocks of birds and you ate well and, after, the canyon taught your mother how to reply the day you told her you have layers of colored sediment and fields of corn right next to one another but no gender.” I love that the speaker is grappling with gender identity in a surreal world. And that there are so many unexpected moves in that poem (“And your mother and the canyon were accused of being lesbians, like a lot.”)
I also love poetry that is inventive and creative in its use of language. One poem that comes to mind is Ryan Downum’s “Painfeel” from Issue 7. That poem has so many beautifully created words like “fieldbloom,” “nightmouth,” and “bloodloom.” I remember how excited I felt when reading that submission because it was like nothing I had read before. That feeling is rare as an editor and overwhelming in the best possible way. And I love poetry that is fraught with complicated emotion. Mostly, I want to feel things when I read poetry. I love when a poem (or any art form) can make me cry—or even better, cry and laugh in the same space.
JV: What do you value the most in poetry?
KA: There’s so much that poetry can do for people. Writing poetry completely changed my life course—after graduating high school I was working multiple jobs and partying nonstop, with no real plan in place for what I wanted to do with my life. But then I joined a poetry workshop, and the encouragement I received from my mentors, Susanna Fry and Jessica Lauffer, really pushed me to apply to college. My future before taking that workshop was very uncertain and bleak. I can’t imagine what my life would look like now if it weren’t for their belief in me as a writer, if I hadn’t fallen in love with writing poetry.
More broadly, I value how poetry can affect people—it can be comforting in times of grief or pain; it can be an expression of love; it can evoke empathy; the list is endless of the things that poetry can do for people.
JV: What are some of the challenges of being an editor for an online publication? On the flip side, what are some benefits?
KA: One of the biggest challenges for us as an online journal is making sure our website is easily readable both online and on mobile devices. And because technology changes so often, nearly every year Gordon has revamped the look of the website in some way. Initially we started off with the work embedded into a web page, then moved to having it in a PDF. There is talk of maybe moving to a different platform like Issuu in the future, but that is probably quite a ways off.
The benefit of being an online journal is that we can reinvent our look/platform fairly often. Also, we can push our deadlines back if need be, whereas if we were a print journal, we’d have a much stricter printing schedule. And of course, the general cost of running an online publication is quite low. Since switching to Submittable, we’ve given readers the option to make a small donation with their submission if they’d like, but this is not required. The money is used to cover costs like our domain name/website and food/drink for our Spotlight Reading Series in Pittsburgh. I love that we can share work with the world without having to charge readers a subscription fee.
JV: What can we look forward to from Pretty Owl Poetry in the next year?
KA: We have a great lineup already for our winter 2016 issue that will be released in early January, and we’re still reading submissions for that issue right now. Gordon just finished another revamp of the website’s homepage. I’m hoping to get some readers lined up for our Spotlight Reading Series in Pittsburgh, with the possibility of some out-of-town contributors making an appearance. And hopefully, lots more great poems, art, and fiction!
Kelly Lorraine Andrews is an assistant managing editor for the American Economic Association and a recent MFA graduate from the University of Pittsburgh. She is the author of the chapbooks The Fear Archives (Two of Cups Press, forthcoming), My Body Is a Poem I Can’t Stop Writing (Porkbelly Press, forthcoming), I Want To Eat So Many Kinds of Cake With You and Mule Skinner (both out from Dancing Girl Press). Her poetry has appeared or is forthcoming in [PANK], Prick of the Spindle, Weave Magazine, and elsewhere. You can read more about her past and future publications and look at a slideshow of her cats at her website.
Jackie Vega is a recent graduate of Grand Valley State University’s Writing program currently residing in Grand Rapids, Michigan. During her time at GVSU, she served as Editor-in-Chief for fishladder, their literature and arts journal. Her poetry has been featured in Brainchildand on WYCE’s Electric Poetry radio program. She intends to pursue an MFA in (you guessed it) poetry.
So maybe you’ve started a literary journal or a podcast? Maybe you’ve been rejected by presses and feel that it’s time to start a place that reflects your thoughts on contemporary publishing? Maybe you’re working in an English Department that’s looking to expand their scope? There are lots of reasons for starting a press, but before you do, check out Sundress Publications’ roundtable discussion with independent press editors about the highs and low of indie publishing.
Why did you found your press?
Carly Miller: I think one of the main reasons was to figure out a way to be a literary citizen outside of being writers and past literary magazine editors. When my cofounders and I started the press, we were five MFA graduate students sitting in a deli asking ourselves what books we love and why we love them. We found ourselves discussing literary theory in conjunction with how our favorite books “work” in their engagement with the reader, how we wanted to engage in this idea of “the creative act as critical act.” Poetry engages with so many different tensions, from subject matter to craft, and we wanted to create texts that could allow the conversation to become wider through the poet’s own voices and how they engage with various tensions. So, we founded a press to engage in these moments of tension, a.k.a. contemporary poetics alongside contemporary criticism, with hopes to contribute to this larger conversation.
Margaret Bashaar: Masochism? I mean, I have always found a deep sense of emotional fulfillment in promoting the art of others. There hasn’t been a time since I was 14 that I wasn’t editing some kind of literary publication. Little in life genuinely makes me happier than finding poetry that I feel merits an audience and working to connect that poetry with an audience. So masochism, definitely. And I like making things with my hands, and books of poetry seemed like as good a thing as any to make with my hands.
M. Mack: The phrase we use is that we wanted to fill a gap in the publishing landscape. At the time, in 2012, there was a real shortage of markets that both called themselves feminist and welcomed work from folks who did not identify as women. So we created Gazing Grain Press as a place for feminists of all genders. The landscape has changed a lot since then, which is really exciting, and we now have a number of contemporaries.
Juliet Cook: I started my Blood Pudding Press close to ten years ago now, so it’s hard for me to remember the exact details of how I felt at that time, but I know it involved a strong and genuine passion for poetry and a realization that it was mostly poets who published other poets. I had been a big fan of ‘zines in my late teens through mid twenties, then indie literary magazines in my twenties all the way until now. When I was in my early thirties, I became a big fan of frequent blogging for several years. My blog site was Xanga and my blogger name was candydishdoom. I met a few creative writers there (some of whom I’ve remained connected with ever since), right around the time when they were initially starting their own online literary magazines and/or small presses. For example, Rachel Kendall, who started Sein und Werden not long after we met and has kept it going for years now and Kristy Bowen, who started Dancing Girl Press around that time. I loved how small indie poetry presses seemed like unique artsy poetic variations of ‘zines and I loved the individualism of our Xanga blog style communication and I loved poetry and poetry chapbooks.
I think I’d had a little back burner of an inkling to start my own itty bitty press for a year or two before I actually did it, but I felt overly nervous that I’d somehow screw it up. But in late 2006, I had this sudden spurt of finishing a small series of Twin Peaks inspired poems that had been sitting unfinished in the back of a folder for about 10 years, and I felt really strongly about the poems, and thought they worked best together instead of individually, and so I decided that would be a great time to start my own small press and publish my own chapbook first, because if I had trouble with formatting, design, or anything else, I wouldn’t be affecting another poet with my fledgling difficulties. Kristy Bowen gladly shared information with me about how she formatted her Dancing Girl Press chapbooks, I followed her formatting tips, I designed my own cover art, and I took it from there. After I got more comfortable with formatting and design, I shifted away from publishing myself with my own press and started publishing multiwriter collections and individual chapbooks by others.
For years, I felt so passionately excited about choosing chapbooks, designing chapbooks, and uniquely hand-crafting chapbooks. I loved being a part of the poetry community who was not only focused on herself, but also helped support others too.
What were some of the early pitfalls you found?
Carly Miller: We’re only two years old, so we may still be in the early pitfalls stage. One of them is definitely funding—we started the press as grad students, who don’t make a lot of money in the first place, and we’re all trying to find jobs and stability in the real world. But we rallied, and we’re working on ways to figure out funding (a.k.a. we’re finalizing our Indiegogo campaign to run sometime during the summer).
Margaret Bashaar: Time. In the past I have over-committed myself, time-wise, and it’s been a huge problem. Essentially, Hyacinth Girl Press is two people—Sarah Reck (who is our prose editor and does all our layout and design work and runs our website) and myself. It was a struggle for us to find a balance with the number of projects we could realistically take on without overwhelming ourselves, and the chapbooks we put out suffering as a result.
Juliet Cook: I honestly don’t remember many EARLY pitfalls, aside from my initial nervousness. I remember feeling extremely drawn to, excited, and passionate about what I was doing for quite a few years.
Reading the responses above mine, about money and time, I agree, BUT I don’t remember those being major concerns of mine when I first started my press. As far as funding, I don’t expect nor do I want anyone else to help fund my press (other than buying the created chapbooks). I am an ANTI-fan of how much crowdfunding has grown in recent years. As far as time, that can certainly be a challenge, but I’ve tried my best not to take on more than I can reasonably handle.
For me personally, the pitfalls came later, when I started to feel as if my press was inundating so much of my time and creative energy, that I didn’t have enough time to read things not related to the press, to write and revise my own poetry, to submit my own poetry, and so forth. I think I have a high drive but a moderate to slow process of accomplishing certain kinds of things. I’m not a good multitasker; I’m a one focus at a time sort of person; and for various reasons, it seemed to be getting harder for me to split my focus in all the directions I wanted to and it got to the point where I sometimes started to feel bothered by my own brain’s slow pace. Over the years, I’ve heard quite a few small press editors/writers express that their press started to take precedence over their own writing—and that’s fine, if you WANT that to happen—but ultimately, I DIDN’T want anything to take precedence over my own writing, at least not on a long term, ongoing basis.
Some other pitfalls that came later for me were partly generated by social media and/or my own brain’s interpretation of certain aspects of social media. Social media, especially facebook, is so up-to-the-minute that it can rather easily cause you to feel like if you’re offline for a few days, then you’re not going to stay up to date and you’re not going to stay on top of things that are going on in poetry land. Plus sometimes on social media, certain poets or presses suddenly seem to get lambasted by a whole group of others and if you were offline for a few days, you don’t even know what generated the lambasting when you get back online, and even if some of the lambasting was deserved, it seems to quickly reach the point of fast-paced attack mode, like people are flinging an arsenal of pies at other people’s faces and the pies have weapons loaded inside and people seem to launch too quickly into taking the side of this weapon-loaded pie or that weapon-loaded piece.
Another social media related pitfall for me is that I feel like I see other small presses talking about their big influxes of chapbook sales and then I start wondering why is my press barely selling enough chapbooks to break even when other small presses sound like they’re selling more than double the amount I’m selling and so what am I doing wrong, etc. . . .
When I started to question my own way of doing things, that’s when I also started to reconsider my press—because I don’t want poetry to feel like some sort of competitive popularity contest, yet part of my mind felt as if it was starting to warp itself into that way of thinking.
Like one part of my mind couldn’t care less how I compare to others; but the other part of my mind was some mutant cheerleader doing little splits and wondering why this press’s splits and this press’s splits appeared to be spreading much further than mine, even though I didn’t necessarily want mine to spread that much further.
M. Mack: One of our favorite early pitfalls happened when we took on Meg Day’s chapbook We Can’t Read This in 2013. We had to (quickly) get permissions to print ASL sign images in the chapbook and then redesign the book with the images we got permission to use. We wrote many carefully worded queries to publishers of ASL dictionaries and spent many hours scanning and erasing backgrounds in Photoshop. We got outstanding images to use from the University of Alberta Press, for free, and that worked out great. The thing about running a press is that you never really know what is going to happen. Things happen, and you figure out how to respond. Often, you figure out that the response involves a carefully worded query.
This isn’t exactly a pitfall, but it’s important to remember that everyone involved with your press is volunteering their time and attention and energy because they believe in the work. One thing that often surprises people I talk to is that expanding a staff takes time. Expansion isn’t as simple as bringing more people on to handle a growing workload. We expanded our staff from two to ten in 2014, following six months of preparation, trying to make our processes as transparent as possible and making all of our policies and procedures as open to revision as possible, and preparing ourselves to let go of some control of our precious literary baby. Even with six months of preparing for expansion, it was a healthy learning curve for all of us. We operate as a feminist press, and it is difficult sometimes. It is important to be open about how much work is required to run a press.
How much marketing is a new indie press expected to do for its authors?
Carly Miller: I think we’re expected to do just as much as older presses! I mean, we definitely have to hit the ground running with promoting our books to the best of our ability, and finding ways to get the book in other people’s hands.
Because we’ve mostly created anthologies, we’ve taken advantage of Twitter by tweeting lines from the anthology. We’re always keeping an eye on our contributors, too, helping to promote a new poem or a new book of theirs. We also connected with a few reviewers and teachers who reviewed or taught our books in their classrooms. We’re also wanting to host more readings, whether they’re in San Diego (our hometown/location) or not. These examples lead me to say that we’re so lucky that our contributors want to help us in terms of marketing efforts—Angela Veronica Wong set up a Spotlight feature on Coldfront (here’s the link: http://coldfrontmag.com/spotlight-locked-horn-press-part-1of-8/) and Krystal Languell hosted a joint reading for us in New York when our first books came out.
Basically, I think authors are expecting marketing efforts, but are also willing to help with marketing because that is the landscape of indie press publishing today. We have our own set of people we contact to help us get a review or something, but we’ve also seen the power of what happens when contributors promote their own work—literally, one contributor shared our newest collection on their social feed, and one of their friends immediately bought the book. We hope our contributors want to share the book with their friends, but we’re focused more on our efforts to get the books where they need to go.
Margaret Bashaar: I think a tiny indie press is expected to do as much promotion and marketing as that press promises to do. I know some presses don’t send out review copies, some don’t bother to try to get their books in bookstores, some don’t maintain their websites with a page for each chapbook, some don’t do promos for their chapbooks, some don’t do pre-sales, some never attend AWP, some only attend AWP and eschew all other fairs and conferences, and some do all of the above and more. I think it’s a case by case basis, and I feel that as long as you are upfront with what you as an editor are capable of and willing to do, then you’re doing great. Be honest. Do what you can.
Juliet Cook: I think this is variable and largely depends on the press. The size of the press, the money of the press, the number of editors of the press, the time constraints of the press, the location of the press, the brainwaves of the press and what those waves are aiming to do.
My press doesn’t do a great deal of in-person promoting, overall. I’ve been to AWP a few times, but certainly can’t afford that conference regularly. I’ve been to smaller, more local conferences and events in my general area. But I’m limited because of location, my brain flukes, and other reasons.
I do promote new chapbooks quite a bit online (via facebook, twitter, my personal blog, my Blood Pudding Press blog, and my website), I do have an online shop offering my Blood Pudding Press chapbooks (https://www.etsy.com/shop/BloodPuddingPress), and I do send out quite a few review copies of each chapbook. I appreciate it when the authors help to market and promote their work too.
One positive thing about social media for presses is that it’s a widely available promotional tool.
One not so positive thing is it can shift your attention all over the place, looking at a little bit of this and a little bit of that and wondering how in the world you’re going to find time to focus on everything that interests you.
With everything that’s going on in social media, all at the same time, even though posts can direct attention towards your press, they don’t necessarily increase the sales of your press. Just because people like a bunch of things on social media doesn’t mean they’re going to buy all those things they like.
Margaret Bashaar: I completely agree with what Juliet says about social media—popularity on social media does not necessarily translate to chapbook sales. My top five selling chapbooks I could never have predicted. There doesn’t seem to be a very set formula for “this is what will make a chapbook sell,” and I do my best to not worry about that. I hope that if I feel passionately about a book that will translate to others and they will want to read the book.
Sometimes something totally unexpected and ridiculous happens that you could never in any way control—a chapbook that I published in 2013 was featured on Jen Campbell’s book vlog as her favorite book she read in 2015, and sales of that chapbook skyrocketed as a result. There was no way for me to control this, for me to make this happen, other than to publish a bunch of chapbooks and for them to somehow make their way to her and for that particular chapbook to speak to her.
I think it’s easier to say what will make a chapbook NOT sell. If the poet is non-present on social media, if you release the chapbook on a holiday, if the poet or editor is non-present in promoting the book. Things like that.
M. Mack: All of the marketing. (I’m kidding, kind of.) If you want to publish a book, you have to market the book. That said, you’re probably volunteering your time to publish books. Marketing is a very important collaboration between the editor and the author. Make the workload more reasonable by being smart about where you send materials. Ask your authors for ideas and feedback. Make sure you are sending materials to meaningful places. See who will accept digital press kits and digital review copies; more and more markets will. It’s often easier and more economical (and less risky, especially if you make your books by hand) to distribute digital marketing materials. That said, especially if you make your books by hand, you want to represent your books accurately in digital form by including photos and descriptions of how they are bound.
What are some of the differences between online chapbooks and print chapbooks? What are the benefits of each?
Carly Miller: While my press hasn’t ventured into chapbooks yet, we’ve had these conversations. Online would allow us to reach a larger audience, especially if the chapbook is available for free (think H_NGM_N Books and Sundress’s e-chaps). Printed chapbooks are such an experience, since the ones I own are that perfect size that fits so easily into my purse and make for that perfect lunchtime read. I know we’re leaning towards more of a book-arts approach with the chapbook, which isn’t currently possible with how large our anthologies are. We haven’t fully done the research to see what would be cheaper in terms of the printed chapbook to go with POD, or figured out the book-art approach, but we’re getting there.
Margaret Bashaar: A print chapbook will exist forever as an artifact. It will be a thing you can hold and touch and re-read and nibble on for as long as you want to. There is more freedom of design and obviously of material in a print chapbook. A print chapbook can be thrown at a rowdy audience member at a reading. As human beings in our current form, we read better on paper than on a screen. Can you tell I deal exclusively in print chapbooks?
An e-chapbook can be much more widely distributed. E-chapbooks have a much smaller overhead. E-chapbooks, once designed, do not need to be re-printed. They do not need you to spend hours and hours folding and binding them. There is less restriction on length with an e-book because you don’t have to force a staple through 13 sheets of paper.
I think we are still in a place where people take print chapbooks much more seriously than e-chapbooks, and while I don’t know if I agree with that notion, I do think it shows a certain commitment to a book to bring it into physical existence. Though if I’m being honest, I used to take that much more seriously than I do now, because lately a lot of presses are being funded by crowdfunding campaigns, and so it’s less a mark of willingness to put your ass on the line to put out a book in print now.
Juliet Cook: I personally prefer print chapbooks, visually and on a sensory level. I think they look and feel more unique and extra-special and one-of-a-kind and you can touch them and smell them and flip through their pages at your own pace.
I’m a big fan of online literary magazines, but when it comes to chapbooks, I definitely tend to be more positively drawn to print.
However, online chapbooks are more easily and widely accessible and thus could have a significantly wider potential audience.
M. Mack: We don’t publish e-books at Gazing Grain, but I teach them in my chapbooks courses. I think e-books can do really exciting things with design, and different people can have access to them. E-books are really great for use in classrooms. (If you want your print chapbooks to be used in classrooms, consider ISBNs or an ISSN to make bookstore ordering easier.) Print chapbooks can also do amazing things with book arts, of course. I consider chapbooks to be extremely intentional handmade objects. My favorite is when publishers make e-books of their sold-out limited edition handmade chapbooks, like Bloof and Big Lucks do.
What tips do you have on designing the layout of an issue or book?
Margaret Bashaar: So, you make friends with this really nice girl named Sarah when you’re both in 2nd grade and you stay friends for like, twenty years. And then it turns out that she is working for Hachette Book Group and wants to try her hand at book design, and you’re starting a press and she’s like “hey, can I do your books’ design?” and you’re like “that’s cool—I was just going to do it in Word or something” and then it turns out she’s amazing at it and that’s my advice.
Juliet Cook: I don’t have the best tips to offer. I’m a one-woman old school designer, who uses Microsoft Word to design my chapbooks’ innards AND covers and I’m not good at explaining how I do it, I just do it how I do it.
Margaret Bashaar: Okay I figured someone else might have some tips, but now that I see that we’re all sort of in the same position I’ll try to some up with something more practical.
1. Teach yourself Microsoft Publisher. It’s not the best program, but if you have the Microsoft Office suite, you’ll have Publisher and you won’t need to spend any additional money on a special program. Plus, unlike Word, it’s a program that is actually meant to be used for things like pamphlet and book layout. It is not a difficult program to figure out (I figured it out on my own in like, an hour).
2. If you have some extra scratch, spring for Adobe Illustrator/InDesign/Photoshop. They are expensive, but I am told also totally worth it if you have the money.
3. Don’t be afraid to do things simply or with old school methods. Sometimes a clean, simple, text-based cover design is better than a fancy pants crowded looking one, and sometimes photocopying is totally the way to go.
M. Mack: I’m also not that helpful here, because I have been designing magazines and books since I was in high school, and for a long while I designed publications sort of professionally for a nonprofit. But, along that time I had to learn new programs and new ways of doing things, and it is possible to teach yourself design programs. If you’re starting from scratch, look for elements in books you admire. Choose a program and learn it. The internet is amazing. I once taught myself to code an e-book with Lynda.com in a weekend. Margaret makes a good point about affordability. I use Adobe because it is what I have always used. Try out different programs that are available to you. Think about what will suit your needs. Adobe has pitfalls not only in cost but also in availability (which is related to cost). Our editors are all over the United States, and sharing design files is nearly impossible. So, think about what your needs are (and will be) before committing to a program.
How do you determine fair pricing for cover art?
Margaret Bashaar: I figure out what I can afford, and fair price is probably like three times that. Honestly, Hyacinth Girl Press is infinitely lucky in that Sarah Reck, our co-founder, is such an amazing designer. When I’m dealing with an outside artist I am as up front with them as I can possibly be about our budget restrictions and I don’t ever try to force anyone to lower their prices for me. If it’s not a fit due to finances, it’s not a fit. I don’t want to waste anyone’s time. Often, if I really have my heart set on a particular artist I will offer to buy the original piece for my personal collection, and that usually moves things along, but that also depends on my personal finances being in a place where I can buy art.
Juliet Cook: I highly value visual art, but I can’t afford to pay an artist a hundred bucks to design a cover for me, or even fifty bucks. In my own experience, some visual artists value poetry just as much as some poets value visual art, and they’re excited enough about having their art appear on the forum of a poetry chapbook and being credited in the book and receiving a free copy of the book that they don’t require monetary payment. I’ve paid some artists a small amount (in addition to crediting them and giving them a copy of the book) to create a new piece of art specifically for a cover. I’ve also purchased an existing piece of art from an artist in appreciation for being given permission to use that existing piece of art on the cover of a book. I’ve also used parts of some of my own visual art creations as cover art for some Blood Pudding Press chapbooks.
M. Mack: Unfortunately, most of us pay what we can afford. My only advice it to make sure that you are upfront with the artist with whatever your price is. You don’t want to put yourself in the position where an artist has said yes, but you can’t afford the fee. Make sure the author knows what the budget is and can include it in any conversations they have with artists. If you’re seeking permissions to reprint artwork, have a conversation with the author about budgets and expectations before you seek them. You might get lucky, but it’s best for everyone to have all of the information.
How do you make the most of writing conferences like AWP? How can you network at a conference without going overboard?
Carly Miller: This last AWP in Los Angeles allowed us to connect directly with our contributors and give them the book right away, which allowed us to not only thank them in person for contributing their work, but save on shipping costs once we got home. For networking, it really is just remembering that people are people. I’ve been to AWPs where I’ve had to stand behind a pillar to calm myself down before meeting some of my favorite poets, but keeping in mind that people who approach your table or have already contributed to your press have some connection with you, it allows the nerves to settle. I’ve taken advantage of book signings and making my small talk there versus chasing someone down when they’re clearly on their way to something (and yes, I’ve just run into people and walked with them wherever they were going, too). Really, just be yourself and if you see that person you want to connect with, fantastic—and if not, then hey, there’s always email.
Margaret Bashaar: I’m really bad at not going overboard at conferences, but not so much with networking as with running myself ragged selling chapbooks. I tend to spend 100% of my time at AWP and other festivals/conferences at my bookfair table talking to people about my press. I honestly enjoy doing so, but I tend to exhaust myself. I’ve found that, as an editor, the best thing I can do for my press is be present at my bookfair table as much as possible. My co-editor has never attended a bookfair or festival with me, so I am the sole representative of my press at these events. I spend money to be there, so I want to make sure I make the most of it, and that means pushing myself that extra mile to be personable and chatty and helpful. I usually take a few days off from socializing afterwards to recover, and that helps a lot.
M. Mack: Network wherever you are. Always have materials for your press with you. I embroider Gazing Grain Press tote bags for our editors to carry. I think of myself as a walking book fair table. Speaking of which, walk around bookfairs where you are exhibiting and introduce yourself to your contemporaries. If you’re walking around with everything you need if a conversation comes up, it is easier to enjoy the conference as an individual as well as an editor. I don’t think staying static at a table is necessarily the best way to promote your press. You’re also (most likely) paying your own way to the conference, so I think it is just as important to set boundaries and make sure that you are fulfilling your own goals for the event (such as seeing panels related to your latest poetry project) as it is to promote your press. Often, these things can go hand in hand. I like to introduce myself to judges of our contests after they speak on panels. I get to hear the panel, and I get to say, “Hi, thanks so much, you’re great.”
What would you say writers expect from the editors of a new press?
Carly Miller: I think writers expect professionalism in all forms. Each interaction needs to be professional and show that the work is being handled with care. I think writers want to see that the press is making an effort to get their work out into the world, and having the work presented in a way that is really beautiful (as in the physical object of the book via design, even when it’s online) and shows a sense of community-building via reviews and marketing efforts.
Margaret Bashaar: I feel like expectations of new presses vary, and I feel as though editors more or less drive that expectation with how we present ourselves on our websites and in our initial communications with writers who want to work with us/we want to work with. It’s hard to say “this is what writers expect across the board.” I mean, I know what I, personally want from a press—I want the editor to reply to my communications in a decently timely manner, I want to be kept updated on the potential timeline for my book or chapbook’s release, I want to have open communication and conversation about my and the editor’s expectations and plans for the book and its release and promotion. So I would say the most important thing is communication. Juliet Cook: I think that depends on the writer and the press. For me as a writer, I’m fairly open, but I would like a press to offer me a tentative time frame of WHEN the book will be published (and offer me updates if that time frame changes), a reasonable amount of free copies of the book with additional copies at a discount rate, and a reasonable amount of help promoting the book. Since that’s what I desire as a writer, that’s what I aim for as an editor too.
M. Mack: Excellence. Writers should expect excellence and respect. If you can’t prove yourself with an existing catalog, you have to prove yourself with the way you treat your authors and your books in process. I think the best way to do that is to be lovely to work with while you create lovely books.
What’s the most rewarding aspect of beginning a new press?
Carly Miller: It’s the moment the books fall into our hands. As soon as we have them, we’re able to send them to our contributors and say “thank you” all over again. It’s really the vision coming to life and seeing how excited our contributors are about the book, and wanting to share that excitement with others.
Margaret Bashaar: I haven’t started a new press in seven years, but I think the most rewarding thing for me when I first started HGP was probably interacting with each of my poets in person for the first time. I do my best to actually meet the people who I have published face to face, and it’s almost always a really fantastic, heartwarming thing.
Juliet Cook: Feeling like you’re being a personal part of the poetry community. Feeling like you’re creating what is meaningful to you and making a small but powerful difference to a few others.
Spending some personal time and energy and creative attention and genuine care focusing on other poets you appreciate and admire and helping their voices be heard.
Receiving meaningful tidbits of positive feedback and support directed at your press’s chapbooks’ innards as well as their design.
Having a few people who seem to actually care about and appreciate what you do and genuinely enjoy it.
Being your true creative self and helping to share a few other true creative selves.
M. Mack: The most rewarding part of running a press is directly contributing to the publishing landscape. Sometimes this also feels daunting. Pay attention when you feel uncomfortable and see if you need to make changes. One of my favorite parts is when people handle our books and ephemera and explore them. I like exhibiting for this reason—showing people how things are made. It is also really great when I bring a Gazing Grain text to one of my classes as an example of a book form and my students get excited about it. One of the most fun things for us is that Gazing Grain is a project of Fall for the Book literary festival, so we launch our chapbooks at Fall for the Book’s two annual events. Our authors and runners-up come to read, and our local editors get to present the brand new book or ephemera to the authors and get to know them. This is another good thing about going to big events like AWP, getting to see your authors and put together events for them.
Juliet Cook’s poetry has appeared in a peculiar multitude of literary publications. She is the author of more than thirteen poetry chapbooks, most recently including POISONOUS BEAUTYSKULL LOLLIPOP (Grey Book Press, 2013), RED DEMOLITION (Shirt Pocket Press, 2014), a collaboration with Robert Cole called MUTANT NEURON CODEX SWARM (Hyacinth Girl Press, 2015), and a collaboration with j/j hastain called Dive Back Down (Dancing Girl Press, 2015). Cook’s first full-length poetry book, Horrific Confection, was published by BlazeVOX in 2008 and her second full-length poetry book, Malformed Confetti, is forthcoming from Crisis Chronicles Press. In addition to her writing, Cook creates other art too, such as semi-abstract painting/collage art hybrid creatures. She is also the editor of Blood Pudding Press (poetry chapbooks in print) and Thirteen Myna Birds (a poetry focused online blog style lit mag). You can find out more at www.JulietCook.weebly.com.
Margaret Bashaar is the founding editor of Hyacinth Girl Press with co-editor Sarah Reck. Her first book, Stationed Near the Gateway, was published by Sundress Publications in 2015. She has published three chapbooks; Rungs, written with Lauren Eggert-Crowe (Grey Book Press, 2015), Letters From Room 27 of the Grand Midway Hotel (Blood Pudding Press, 2011), and Barefoot and Listening (Tilt Press, 2009), and has a fourth chapbook, Some Other Stupid Fruit, forthcoming from Agape Editions. Her work has also appeared in or is forthcoming from journals such as The Southeast Review, Rhino, New South, So to Speak, and Copper Nickel, among others. She hails from Pittsburgh where she co-runs the annual arts anarchy event, FREE POEMS, with Rachael Deacon, and works to destroy classism in the literary world in whatever way she can.
Carly Joy Miller’s work has appeared or is forthcoming in The Adroit Journal, Blackbird, Boston Review,Gulf Coast, and elsewhere. She has been nominated for a Pushcart and was a finalist for the Stadler Fellowship. She is a contributing editor for Poetry International and a founding editor of Locked Horn Press.
M. Mack is a genderqueer poet, editor, and fiber artist in Virginia. Ze is the author of Theater of Parts (Sundress Publications, 2016) and three chapbooks: Mine (Big Lucks Books, forthcoming 2016), Imaginary Kansas (dancing girl press, 2015), and Traveling (Hyacinth Girl Press, 2015). Hir work has appeared in such places as cream city review, Hot Metal Bridge, Menacing Hedge, and The Queer South (Sibling Rivalry Press, 2014). Mack is a founding co-editor of Gazing Grain Press, an assistant editor for Cider Press Review, and the monster maker behind What Is Reality Plushies.
cahoodaloodaling is an online quarterly journal founded in 2012. We publish in the months of January, April, July, and October. As a collaborative journal, our quarterly issues are shaped by an eclectic staff and a revolving guest editor. Our calls for submissions, molded by our guest editors, are based on either a theme or a writing style. As such, our issues are ever-changing and our style ever-evolving. New team members will have opportunities to interact and work with other members of our international staff, as well as our contributors and guest editors. We are looking for diverse voices to add to our staff in several positions, including Production Editor, Special Feature Editor, Social Media Maven, Book Reviewer, and Book Review Editor.
Minimum age requirement for all positions is 16; no maximum. Being bilingual or a polyglot is a plus, but not a requirement. Individuals working inside or outside of academia are welcome. You are welcome to think of these positions as an internship and I am happy, as managing editor, to write letters of recommendation for any staff who performs their duties.
We are a collaborative publication and are looking for individuals who, beyond their specified duties, engage in our creative community. All members are added to our Facebook group and offer feedback and input as a team. We hope that by extending our staff, we can grow both as a journal and as individuals.
We believe that experiencing publishing from both working behind the scenes at a journal and by submitting to journals is important for our team members. For editor positions, we do require that applicants have published work prior to applying.
We are seeking to fill one Production Editor position. Production Editor will work directly under managing editor, Raquel Thorne.
Our Production Editor will be responsible for building pages for each issue. As such, our PE must have excellent WordPress.org skills. We are looking for a creative and visual individual to help translate our accepted submissions to our online platform. Must work well under deadlines, as the turn-around from final cuts to issue publication are at most 6 weeks, and at times up to a few days, before an issue goes live. Although PEs are not responsible for the bulk of editing, copyediting skills are a must as our PE will be last in line for reviewing work before it goes live.
Position is a minimum one year/four issue commitment.
Special Feature Editor(s)
We seek to fill one to two Special Feature Editor positions to work directly with our managing editor, Raquel Thorne. Special Feature Editor(s) will be responsible for maintaining our special feature gmail account and incoming proposals as well as soliciting work for special features. As our tastes are eclectic, so are our special features, which may take the form of community projects, collaborations, round tables, etc. SFE will pitch ideas to managing editor, Raquel Thorne, but will have much creative control over what they publish.
We are interested in bridging gaps in our creative community, between what is considered “literary” and that which is considered “not,” as well as supporting under-represented voices and producing a safe space for our eclectic, and often marginalized, creative community. Previous special features have included collaborative projects from writing groups to showcasing work from a super hero universe.
We are looking for self-starters. Applicants must be able to meet deadlines and have experience working with WordPress.org sites. Reliable computer access and an internet connection is a must.
Position is a minimum one year/four special feature commitment.
Social Media Maven
Our Social Media Maven will be responsible for promoting our published work on Facebook, Twitter, and Tumblr. We are seeking someone who is familiar with these platforms, and who can help us promote our brand. Ideally, we want someone who can resigned our Tumblr to help us reach a broader audience. We do not have, but are open, to developing an Instagram presence and reviving our Ello account. Reliable computer access and an internet connection is a must. If you are also familiar with additional platforms, please let us know.
Position is a minimum six month requirement. Most duties will be required in the month following issue publication.
Book Reviewer/Book Review Editor
We are seeking 1-3 dedicated book reviewers. At cahoodaloodaling we accept unsolicited book review requests. Reviewers would select books from our requests and are expected to give honest reviews.
If you are interested in being our Book Review Editor, please indicate so in your application. Our BRE would be responsible for working with our staff, including readers who also may elect to do reviews, and as such would be responsible for line editing.
Position is a minimum six month/two issue commitment for reviewers, or a one year/four issue commitment for editors.
TO APPLY FOR A POSITION, email Managing Editor Raquel Thorne at firstname.lastname@example.org with the position you’re applying for in the subject line, and address the following questions:
The basics: Name and preferred pronouns, as well as location (timezone). Also feel free to tell us any demographic information you feel comfortable sharing, which can include disability, age, ethnicity, religion, political party, etc. I assure you, we are open to anyone but Trump supporters. Do not feel the need to share anything you are not comfortable sharing.
What does good literary citizenship mean to you?
What is your specialty/specialties? Poetry, Fiction, Nonfction, Hybrid, Visual Artist, etc.
Please tell us who you are both inside and outside of the literary community (250-500 words). Also use this as a space to also link us to previous work you have published, including personal blogs.
What are your personal prejudices? (As an example: Raquel Thorne, the managing editor, is strongly prejudiced against work that sentimentalizes individuals as “angels”. And ghost metaphors. But all the dinosaur poems get her vote.)
Do you have any special skills you can bring to our group? For example, do you know how to set up advertising on our site and find appropriate advertisers (to our mission/creative community)? Or, do you know how to set up Google Translate so that we can reach a broader audience?
Additional roles may be created to suit excess, promising applicants. All positions at cahoodaloodaling are unpaid. Prior to applying, please read our current issue: http://cahoodaloodaling.com/.