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Update on Numbers
So I decided to look at numbers again for Hurricane Baby’s querying journey–here we go.
Queries submitted: 38
Rejections received: 15
Places still on the list to send to: 10
I did get a lot of rejections over the holidays, but I was expecting that so I am still okay about it 🙂
I am going to send another query this afternoon or tomorrow, to Prairie Schooner Book Prize. More places open up in February, so I have a plan to continue submitting for the rest of the year, just about. And I may find even more to send to. We will see.
Persistence pays off. That’s what I’ve been told. So we will see. Wish me well!
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Hurricane Baby the Play Update
I finally got to talk to the artistic director of Mississippi Repertory Theatre, the group that is going to put on Hurricane Baby this spring. We had been missing connecting for a while–we talked once over Facebook, and I had made a few calls trying to catch him at the theater but always missed him. So we finally had a chat.
He had a lot of good ideas about putting the play together–he talked about using news footage of Hurricane Katrina on the projection screen the theater has during scene changes (which there are several). We had a very productive discussion about fees, which is the main reason I wanted to talk to him–some theater companies I won’t name like to nickel-and-dime their playwrights, but he didn’t sound like that type at all.
He told me I would get a royalty for the rights to use the play and I would get a percentage of the tickets as well, which is what I had been told to look for by another theater-friend of mine. He said he would invite me to a rehearsal to see a run-through and get my ideas about costuming, the scenery, the tech rehearsals, etc.
And we closed the discussion with me sending him another play of mine that he said he would be interested in for the next season–it’s set at a suicide hotline, a very simple two-person show that could be used for touring. So we will see what comes of this collaboration with them.
I was very pleased talking to him and hearing about his vision for how to produce it. I look forward to working with them. He talked about doing it in early April, which would be great. I will keep you all updated as to its progress in the next few months. Thanks for reading!
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To-Be-Read Pile
So I have a nice pile of books to be read stacked up for the new year. I plan to be a lot more intentional about reading now that I am a year-and-a-half out of graduate school. I was so TIRED of reading. But now I plan to really get back into it and see where I go. I am going to list my books out and log when I read them on here as they are completed. The list (so far) contains:
–Defining New Yorker Humor, University Press of Mississippi, 2000
–Positioning Pooh: Edward Bear After 100 Years, University Press of Mississippi, 2021
–Best American Essays 2021, Mariner Press, 2021
–Best American Essays 2020, Mariner Press, 2020
–Best American Short Stories 2019, Mariner Press, 2019
–Best American Short Stories 2018, Mariner Press, 2018
–Always Happy Hour, Liveright Publishing, 2017
–Reconsidering Laura Ingalls Wilder: Little House and Beyond, University Press of Mississippi, 2019
–A Charlie Brown Religion: Exploring The Spiritual Life and Work of Charles Schulz, University Press of Mississippi, 2015
–A Year In Mississippi, University Press of Mississippi, 2017
–Born To Shine, Hachette Book Group, 2022
–What If? 2, Riverhead Books, 2022
–Little Pieces of Hope: Happy-Making Things in a Difficult World, Penguin Books, 2021
–The Potlikker Papers, Penguin, 2017
–American Housewife, Anchor Books, 2019
–Dispatches From The Golden Age, St Martin’s Press, 2022
–Bring Your Baggage and Don’t Pack Light, Anchor Books, 2021
There’s a list. There’s a plan. Off I go!
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Doing a Little Research
I read an article recently talking about an illustrator who lost the ability to visualize what he was supposed to be drawing–for him, it happened after he went back to work from a three-week bout of COVID.
Going through the article, I learned a new word: aphantasia.
It means the inability to visualize images in your mind.
I found out that most people are able to “see” imagined images.
Now I have heard all my life about the “mind’s eye”–where you can recall how a person looks or imagine a scene in your mind to relax. I’ve read a lot of literature talking about visualization–imagining the outcome you want, and that imagining preparing you for various scenarios, such a public speaking, etc.
I never knew, however, that most people, when closing their eyes and being asked to visualize something, ACTUALLY SEE SOMETHING. This bit of knowledge was surprising because–
All I see are the backs of my eyelids.
I don’t see ANYTHING when I try to visualize. Nothing. Zip. Zilch. Nada.
Why am I talking about this? Well, it seems that most writers do a bang-up job imagining people, places, and things and are then able to narrate what they see in their mind’s eye, describing their characters, settings, and action.
I have always been told my writing is missing that kind of description. It was something I worked hard to try to do in my writing for graduate school for my MFA, something I tried to learn as a matter of craft.
But now I know it’s a case of my brain, again, being different from other writers’ brains.
I’ve been chewing this insight over for a while.
And right now, I am in a bit of despair about it.
Do I need to give up fiction? And on the hope of succeeding with my fiction? Are readers now so addicted to visual stimuli that if I can’t do this thing, I don’t have a writing future?
What should I do?
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Writing Resolutions
I’m not typically much for New Year’s Resolutions. I tend to take a random day out of the year and think over the past year’s successes and then make a list of ways to improve whatever it was I felt could use more work in my life (I usually do this on my birthday).
But I am finding myself trying to think of ways to improve the writing experience for next year regardless.
–I plan to start back my podcast Imaginary People, Places, and Things. https://anchor.fm/julie-liddell-whitehead
It’s a podcast of short Southern fiction by various writers, but mostly by me. I have a pretty long short story I want to serialize for it. I am of two minds if I want to do it weekly (like I did last year) or monthly for this year. I am going to have to think on that some more.
–I have fifteen more presses I want to send Hurricane Baby to in the new year. I have them written out with the day the press opens to submissions again and will start sending out when we get back from Florida visiting my oldest daughter’s family during New Year’s.
Depending of course on what kind of responses I get between here and next year :). I figure a lot of people will try to clear their inboxes before the end of the year, so I am bracing for a lot of rejections in the next two weeks as well.
–I want to read more books in the New Year. I plan to take my new books into the bathroom and read while I am soaking in the tub to relax after taking a bath. I hope that will help stir my creativity more in the new year as well.
–I also want to complete my new story idea in a first draft by this time next year. I’m not sure where I’m going to squeeze in the extra writing, but either I am serious about it or I’m not. Long past time for getting serious about it if I’m going to do it.
What are your new writing resolutions for the new year?
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Sketchy Replies
I’ve had a very interesting pattern develop in some of my rejections for Hurricane Baby–three of my six rejections have offered to publish my book in a self-publishing format. They want me to pay them a fee to print my book, edit it, and distribute it.
This kind of offer is sketchy for several reasons.
Each house that has done this advertises themselves as a traditional publishing house. That means if they take you on, they are making a commitment of their own money to the project and therefore, have a vested interest in recouping that investment.
Offering what are essentially vanity press services makes me think that maybe they weren’t on the up-and-up to begin with; maybe they never publish anyone with their own money and don’t pay royalties. It makes me think I dodged a bullet in dealing with them.
They try to make it sweeter by saying I can keep more of the profit off of each book sale under this arrangement. Well, if they have no money invested, they therefore don’t have any motivation to help me sell it; therefore, I am essentially the publisher, and they are simply a printing service. If I wanted to do that, I wouldn’t be sending it out to other publishers; I’d have already done it myself.
I am pointing these red flags out because so many of us are so desperate to get our work out there. We want to have our voices heard. But book publishing is not a charity endeavor–someone has to make money. I know my book needs someone’s expertise to get into bookstores, to be edited professionally, to be marketed effectively to readers.
Any publisher that offers a service where you pay them for any of these components needs to market themselves as what they are–a printing service for authors prepared to sell their books wholly by themselves. I’m not saying that is wrong–calling yourself a hybrid publisher or a for-fee publisher keeps your intentions aboveboard. To advertise yourself as anything else borders on the predatory. Writers live on hopes and dreams. Sometimes the hopes and dreams overcome our business sense.
All in all, you want someone who will champion your work–not simply collect a fee from you. I will not name the companies here–just warn you to do your due diligence in steering clear of anyone that might have your money flow to themselves instead of the other way around.
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Starting Again From Scratch (Almost)
So this afternoon I typed the first paragraph of my new linked short-story collection with a working title of “Strong. Southern. Women.” (periods are intentional) The story is about a widow who was left to raise three young daughters on her own. Each of the twenty stories currently planned is about how the girls grow up, leave home, and (because each has an individual fatal flaw) fall from grace, destroying their lives–they think. One goes to white-collar prison. One descends into opioid addiction. And one winds up in a battered women’s shelter with her young son.
But their mother, who is both the one who held them together and who instilled the seeds of their self-destruction, gives them space, after they make the hard decision to reorder their lives, to grow, to gather up the pieces, and to get back on their feet. It’s going to be Southern Gothic again, but much more inspirational and happy-ending than Hurricane Baby.
I have an outline of all the stories and the backstory, and I’ve so far finally gotten started. We will see where this writing journey takes me. Wish me well!
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By The Numbers
So today is going to be a numbers post about how trying to find a publisher is going. These numbers are after being on submission for about a month and a half–I sent the first queries out on September 7.
Total queries to publishing companies sent–33
Rejections–4
Number of queries through Submittable–14
Number of queries through QueryManager–1
Number of contests entered–10
Number of publishers I still plan to send to–14
Queries to agents–0
By the time I send out to everybody on my list, it will have been on submission for a year.
I am trying to give this book its best chance to get published I can. That’s why I’m sending it far and wide within the parameters I mentioned in an earlier post. No use in sending it to people who don’t publish what I’ve got. So we will see where things go from here.
Wish me well. Happy writing!
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Query Letters
As i said last week, I am pitching Hurricane Baby to independent presses, and I got another full request last week! I thought today I would share my query letter and see if looking at what I have done in it might help other writers craft their queries as well. About half of the presses I have sent to, I went ahead and sent full manuscripts to because they called for them. But I think this query may help answer questions about how to put one together. Mine is going to read differently than yours because I write like I write, and you write like you write. But here it is, with the final paragraph with contact information removed:
Hurricane Baby: Stories (69,820 words) is the first fictional treatment of Hurricane Katrina to approach its subject–the suffering of those who endured the hurricane and its aftermath–through a trauma-focused lens. The characters in this short-story collection face extreme circumstances with only their inner resources to count on–and in many cases. that proves to not be enough to deal with the mental challenges of living through a weather event of this magnitude. Although many of the characters do not experience the typical physical losses of family members or property, they persist in living lives that have become psychological nightmares.
Wendy Magnum of Hattiesburg, Mississippi suffers guilt and remorse after betraying her husband, Ray. by having an intimate encounter with Judd McKay, a friend Ray had trusted to help protect his family during the storm. Tommy Hebert turns to alcohol to help him handle the trauma of what he saw aiding in search-and-rescue in Metairie, Louisiana. Mike Seabrook’s relationships with his God and his wife, Dinah, are sorely tested after he loses a patient in his emergency room; he responds by quitting his nursing job and working in hurricane relief while attempting to rebuild both his home in Slidell, Louisiana and his faith. James and Lori King suffer dual devastating losses –Lori goes into premature labor as a result of the storm, and James discovers on his return to their home in Kenner, Louisiana that his best friend died trying to protect the Kings’ home from looters.
I currently work as a reporter for the Mississippi Center for investigative Reporting, covering stories on mental health, mental health advocacy, and mental health education. My fiction has appeared in China Grove Press, The Esthetic Apostle, and Swamp Ape Review, among others, including the Running Wild Press Novella anthology in 2019 with the story Looking for Home. In 2021, I graduated with an MFA in creative nonfiction from the Mississippi University for Women. A full-length play based on an early version of Hurricane Baby won an award from the Eudora Welty New Plays Festival in 2010 and is slated to be produced by Mississippi Repertory Theatre in 2023. I have a social media presence of WordPress, Facebook. Twitter, Instagram, LinkedIn. and Pinterest, for a total of about 2,000 followers.
The stories’ common themes touch on the fragility of morality in a life-or-death situation, the impossibility of chasing normalcy for the psyche after severe trauma, and the reverberations of the characters’ choices on how to deal with their trauma that go far beyond mere survival of the immediate storm. I hope these themes resonate with you as they should other readers who are interested in the study of trauma, the effects of climate change on our communities, and the importance of memorializing the past in a way that honors and enlarges it, all told in the Southern Gothic tradition.
Sincerely,
Julie Whitehead
Hope this helps!
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Indie Publishing
So I have been scouting out small presses, university presses, and independent publishers for Hurricane Baby: Stories. You know what? The US has LOTS of them–and many take submissions directly from authors without need for an agent. So what criteria am I using in selecting the people I send my manuscript to?
Number 1) I am looking for established presses. Presses that have been around for a while. Presses that know what they are doing. Presses that have a process for what they do. I do not want a press that is a flying by the seat of its pants publishing my work. So I look at the history and mission of the press.
Number 2) I am looking for someone who is buying what I am selling. Not many presses deal in short-story collections. I am looking for information that says explicitly that they publish short-story collections.
Number 3) I am looking at presses that are located in my geographic area. Since I write Southern stories and characters, I look for Southern presses. I have sent to a few presses that are located outside of the American South, but not many. I want someone who can read in a Southern accent because that’s how I write.
Number 4) I look at presses that deal only in electric submissions. A few presses and prizes out there still require sending a paper copy of the manuscript. I judge them for this–it means, quite frankly, that they aren’t evolving with the times. It’s the 21st-century. Electronic submission is where it’s at.
Number 5) I am not ruling out presses that may require a submission fee, especially for contests. Lots of people won’t pay those fees out of principle, citing that the money is supposed to flow to the writer, not the press. I’m not doing it often, and there is a limit to what I plan to spend. But let’s not act like writers have never spent money to send off their manuscripts– postage and printing costs for sending in a finished paper manuscript was expensive, too.
Number 6) If I’m really on the fence about a particular publishing house, I look for something intangible that says, “We take your work seriously.” One press I have really been considering published two books by a professor of mine–but I just don’t like the tone of their website. I want a press that means business–in every sense of the word. So I’m not sending there.
Bottom line–publishing is a business. And I want a press that has an established track record publishing what I am offering that ultimately understands my work and has the means and the vision to do so. So far, so good. Thanks for reading!
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Julie Liddell Whitehead 