Rod Raglin's Blog, page 9

A unique perspective on wildfire

Red Eyes and Tired Lungs – An Anthology of Wildfire edited by Asha Jade Goodwin is now available for pre-order as an ebook at https://books2read.com/u/bM2dQB

The title of this anthology comes from the editor’s experience during British Columbia’s most destructive wildfire season in the province’s recorded history. Over 2.84 million hectares of forest and land burned, more than double the area during any previous year on record.
Tens of thousands of people were forced to evacuate. Hundreds of homes and structures were lost or damaged. Smoke from the 2,245 wildfires contributed to Red Eyes and Tired Lungs for hundreds of thousands of British Columbians.

According to anthologist and editor, Asha Jade Goodwin, “The greatest challenge to creating this anthology was making sure we tackled the theme from as many angles as possible. Wildfire is dynamic, both a destructive force as well as part of the cycle of renewal.”

The works of the 38 authors and poets, including two poems of my own, showcased in this anthology have achieved this presenting a literary accomplishment that runs the gamut of emotions from beautiful to devastating, inspiring to terrifying while at the same time being entertaining reading

If you want a unique perspective on wildfire and how it is manifesting (particularly in BC) in this age of global warming, purchase Red Eyes and Tired Lungs – An Anthology of Wildfire.

#readingcommunity #amreading #anthology #wildfires @redeyesandtiredlungs @AnAnthologyofWildfire @ashajadegoodwyn #shortfiction #poetry

Beware of submitting to anthologies

An author who got screwed by submitting to an anthology? Not me – but I can relate.

I’m not too keen on submitting my stories to anthologies. My experience has been the stories authors send are used as free material to fill a book that the publisher throws up on internet, and provides little or no online promotion/exposure for the contributors. You may or may not receive a free digital copy.

I imagine some of the authors (one anthology I was published in had 52) encourage their family and friends to buy the book or even buy it themselves to gift to some unsuspecting person, brag about at dinner parties or attempt to flog at the local flea market. I’m not one of those authors.

I’m not sure what the publisher’s motives are, most say it is a labour of love – which apparently justifies not offering payment. However, that also applies to the work being submitted. At best, it’s a zero sum game – certainly in terms of financial gain, and likely in respect to advancing the author’s career as well.

At worst, the publisher is making a profit on the writer’s work while at the same time holding the rights to that story (usually three to six months) which prevents resubmitting. Futhermore, when the rights are released, at least half the legitimate publications won’t accept previously published work.

Fool me once….

But hang on, a publisher is requesting stories about “Bigfoot, Sasquatch, even Yeti for an anthology” and “Payment is at least 100 dollars per story.”

 Wow! And I just happen to have a story about Sasquatch in my bibliography.

The publisher is also committed to running “a kickstarter in the new year. The better we do, the more authors get paid.” That’s optimistic since any kickstarter campaign for a book launch I’ve seen only succeeded with the help of one or two angel investors (Mom, rich uncle, sympathetic partner).

My story is accepted, I sign a contract, my faith is renewed. Then this from the publisher:

“I’m considering cancelling the campaign and restarting it. To make that effective we’d have to really push traffic and sales of books. Right not we have 14 supporters. That’s only 14 books sold. To make it work we need about 300 books sold if we don’t have any of the higher level perks chosen. Even if I choose a lower goal, I still need to be able to sell enough books after to make back the money I’ve invested.

Give me your feedback. Show we reboot and try again with a lower goal? Let this run its course?

I still want to put this book and your stories out into the world, but it will be much more difficult without a successful Kickstarter.”

When did it become my problem, that the publisher “make back the money he invested”?

It’s too bad that publishing this anthology “will be much more difficult without a successful Kickstarter”, but a deal is a deal. I’ve upheld my end of the agreement including promoting the anthology during the Kickstarter campaign.

Whatever the decision, move forward, pause, abandoned, I still want $100 promised for my story and so should every other author he contracted with.

And let’s be honest, the return on investment is far more in time than out-of-pocket.

Labour of love notwithstanding.

After I post a response suggesting “a deal is a deal”, here’s the reply:

“I fully plan to pay my authors. I never said that I wouldn’t. I have alternative plans I hope will cover that. Having said that. The contract is for payment on publication. If publication doesn’t happen within a year of signing then the project is dead.

I will reboot the campaign this week and have materials to share on a variety of media. The goal will be lower but I can live with that.”

A year! Once again, the author gets screwed.

Bigfoot Country Anthology Kickstarter Campaign is offering significant savings for authors on Manuscript Assessments and full Book Editing.

Alex McGilvery, author and owner of Celticfrog Publishing, has chosen excerpts from my novel, FOREST – Love, Loss, Legend, to include in Bigfoot Country, an anthology of stories about “Sasquatch, Bigfoot, Yeti and more as people encounter them in remote locations or their own backyard.”

To offset the costs of editing and publishing this exciting project, Alex has begun a Kickstarter campaign.

A minimum donation of $10 gets you the e-book edition, $20 donation an ebook plus the printed edition (paperback).

For a more significant contribution, Alex is offering rewards that could save authors hundreds, maybe even thousands of dollars, including:

Manuscript Assessment by Celticfrog for a contribution of (CA) $100

Get a full professional assessment of your manuscript up to 50,000 words. Amount can be negotiated if your word count is higher. Assessment will be completed within 30 days of submission. Can be claimed up to January 2025.

Full Content Edit of your book by (CA) $500

Get a full content edit of your book. It starts with a manuscript assessment, but includes chapter comments and a full second pass looking at your prose and how it can strengthen your story. This second pass comes after your revisions based on the advice from the first read through. You have a full year from the end of the campaign to start your edit. There is no time limit to completing the edit

Here’s the link. https://www.kickstarter.com/projects/alexmcgilvery/bigfoot-county?fbclid=IwAR3p2PBbiRrfe93espm_GE-jtEWFT_dUBF9CugVqssTRgFjWzop4bYs14mA

The book is formatted and being proofread for publication in May 2024.

#sasquatch #yeti #Bigfoot #missinglink #monsters #wilderness #forest @celticfrog @alexmcgilivery #mystery #myth #bigfootanthology #sasquatchstories #bigfootstories

Support Kickstarter campaign to fund Bigfoot anthology

If you’ve ever spent time in the deep woods of the Pacific Northwest, you’ve probably had that eerie feeling that something is watching you. Then there’s the sound of the rustle of leaves when there’s no breeze, the shape that emerges from the shadows then quickly disappears. Is that rhythmic knocking sound a signal or just a branch striking a nearby trunk? And that impression in the gravel by the creek, something definitely was there, but what?

This is how the protagonist in my novel, FOREST – Love, Loss, Legend, explains it. “The forest presented an impenetrable wall of green and made it easy to imagine no human had ever set foot a hundred metres on either side of the road. Species could come to life, thrive and die without anyone except God ever knowing they existed.”

Have they? Are they still?

Alex McGilvery, author and owner of Celticfrog Publishing, has chosen excerpts from FOREST to include in Bigfoot Country, an anthology of stories about “Sasquatch, Bigfoot, Yeti and more as people encounter them in remote locations or their own backyard.”

I hope you’ll consider supporting his Kickstarter campaign to offset the costs of editing and publishing this exciting project. Who knows, there may even be some residual funds to compensate the authors.

A minimum donation of $10 will also get you the e-book edition, $20 donation an ebook plus the printed edition (paperback). The book is formatted and being proofread for publication in May 2024.

Here’s the link.

#sasquatch#yeti#Bigfoot#missinglink#monsters#wilderness#forest @celticfrog @alexmcgilivery #mystery#myth#bigfootanthology#sasquatchstories#bigfootstories

Bigfoot Country Anthology

Thanks to Alex for including excerpts from my novel, FOREST – Love, Loss, Legend, being featured in this anthology.

My short story, The Least of Light, published in OpenDoor’s Frost & Fire anthology

The Least of Light, my short story about an alternative to Christmas, has been published by OpenDoor Magazine in their latest anthology entitled, Frost & Firelight.

The short stories, poetry and images in this beautifully produced publication “seamlessly melds two contrasting yet enchanting facets of this season: the invigorating chill of frost, symbolizing cleansing, and the comforting warmth and safety emanating from a crackling fire.”

The Least of Light is a story about how an old man and his seven-year-old friend come up with an alternative to Christmas, one that celebrates the season and embraces the environment rather than attempting to overcome and diminish it. It is an example of hybrid writing combining poetry and prose.

At OpenDoor Magazine, they “strive to stay a free opportunity for poets, authors, artists, and songwriters to submit to – as well as keeping the magazine free to subscribe. This allows more opportunity for the artists and those who wish to discover them.”

Indeed, you can download a free copy of this very attractive publication​ at Frost & Firelight You’ll find my story accompanied by one of my photographs beginning on page 49.

How you ask, do co-creators Melanie Haagman and Kassie J. Runyan sustain the publication if it’s free? For more information and to support this endeavor visit their Support Page

@melaniehaagman @kassiejrunyan #opendoormagazine @opendoormagazine #literarymagazine #shortstories #authors #writers #frost&fire

Seeking clarification of submission policies for marginalized authors.

In a continuing effort to understand the submission policies in regard to marginalized writers I have sent letters to a few literary magazines. Here’s one I sent to The Ex-Puritan, whose editor was gracious enough to respond.

MY QUERY:
Can you please explain specifically what this statement on The Ex-Puritan submission page means?

“We are especially interested in work by LGBTQ2S+ writers, BIPOC writers, and writing from other marginalized folks.”

This issue has been discussed in a number of writer forums I’m involved in and the interpretation widely varies. For example:

are you just encouraging writers who identify with marginalized groups to simply submit their work or, are you suggesting their work will receive special consideration? If the latter, what might they be?how do you identify and verify the racial or sexual identity of an author?

Thanks in advance for your response. It will help clear up misunderstandings.

RESPONSE:
Dear Rod,

No one is getting any special treatment based on their positionality. Works are chosen based on their quality and on the discretion of the individual editors. However, due to the inequities still present in publishing, we, along with many other magazines, encourage folks from multiple marginalized backgrounds to send in their work to the magazine.

Re your second question, we do not identity (sic) or verify anyone’s background. Authors self-identify if they so choose to. Again, no published work is contingent on the writer’s background, but on the quality of their work.

If you are interested to submit to the magazine, please familiarize yourself with the last few issues to get a feel of the kind of work we publish.

Best,
Sanchari Sur (she/they)
Editor-In-Chief
The Ex-Puritan
http://www.ex-puritan.ca

Though I find this reassuring, I don’t understand it.

Consider:
“Works are chosen based on their quality and on the discretion of the individual editors… we do not identity (sic) or verify anyone’s background. Authors self-identify if they so choose to. Again, no published work is contingent on the writer’s background, but on the quality of their work.”

If this is the case, why state that they are “especially interested in work by LGBTQ2S+ writers, BIPOC writers, and writing from other marginalized folks.”
According to what the editor says it makes no difference whatsoever if the author self-identifies as being from a marginalized group since “no published work is contingent on the writer’s background, but on the quality of their work.”

Is including the statement encouraging marginalized writers to submit their work something necessary to get those government grants and appease funding organizations? Or, is it just gratuitous?

In light of this response, I wondering why a more inclusive statement like this one that appears on the Ampersand Review submission page can’t be used?

“We welcome literary works in any genre or form, and from new or established writers of all backgrounds and identities.”

More questions. No clarity.

The initial post on the Next Door app received at least 1.9K views within 48 hours. I mention this because I was wondering if this issue was of concern to anyone other than myself and a few other authors. I take this obvious validation as interest only – and not necessarily support for my point of view.

And not all of you did. Here’s a comment from Joseph Campbell.

“Diversity support in authors leads to more diversity in editors and publishers, and that leads to windows into cultures we have no personal connection to and that leads to further understanding and connection to other humans.”

If that is the case, then what The Ex-Puritan is offering isn’t helping and leads me to ask is there a better way to achieve what Joseph is suggesting rather than misleading marginalized writers into thinking they’re getting special consideration, while discriminating against other authors?

For context on this issue, please visit Re: Stop discriminatory submission policies at https://www.facebook.com/profile.php?id=100013287676486

This is by no means the final word on this issue. The discussion is ongoing and evolving and your comments are welcomed, will be considered and may alter this position.

Let’s talk.

Tell publishers to stop discriminatory submission policies.

I’ve been part of an ongoing debate examining the presumption that marginalized groups, specifically Black, Indigenous or people of colour (BIPOCs) and those who identify within the LGBTQ2S spectrum are underrepresented in Canadian literature.

The presumption is that because of discrimination by publishers their stories have been deemed not worthy and subsequently haven’t been published. To make up for this injustice, they should receive special privileges when it comes to submitting their stories.

It’s not enough for a publisher to state on their submission page that they encourage submissions from all groups and assure there’s no discrimination in reviewing material, some feel they must waive submissions fees, have special time slots for submissions, even ensure if the author self-identifies as marginalized their story will be get priority treatment.

Whether or not you’re predisposed to “two wrongs not making a right” (discriminating against the mainstream to compensate for what has/is happening to the marginalized) it presents three issues.

1. What does this do to the standard of literature? Shouldn’t acceptance go to the best written, most appropriate story and not be based on race, gender, or other protected characteristics?

2. Who and how has it been determined marginalized authors are underrepresented in Canadian Literature? How are they identified and their identity validated?

3. Policies that continue to prioritize writing by such groups by providing them with special privileges create the perception marginalized writers are less competent or accomplished.

If you’re against discriminatory submission policies, here are some actions you might consider taking:

– don’t submit to publications that discriminate in any way.

– call out such publications for the above said reasons.

– advocate for the removal of these discriminatory messages on submissions pages.

– advocate on behalf of blind judging – editors having no information about the author (including their name) and judging the submission on its creative merit alone.

This is by no means the final word on this issue. The discussion is ongoing and evolving and your comments are welcomed, will be considered and may alter this position.

Let’s talk.

#writers #authors #poets #marginalizedwriters #BIPOCwriters #discrimination #fairness #blindjudging #craft #literature #underrepresentation #selfidentify #submissions #submitting #literarymagizines #publishing

My short fiction, Worse Than Death, has be published in The Stygian Lepus – Edition Nine

My short fiction, Worse Than Death, has be published in The Stygian Lepus Edition Nine, a monthly digital and print literary magazine available at https://stygianlepus.com/

The editors advise their content “leans to the dark side” which seemed appropriate for this story.

In Dr. Dennis D. Langton’s long career as a practising psychologist, the case of Scott Myers, a privileged and popular college student, was the most frustrating in regard to the resistance of any form of treatment and the resulting horrific outcome for the patient. Equally bizarre was the trigger, a casual sexual encounter with an enigmatic young woman that led to excruciating pain, disfigurement, attempted suicide and subsequent catatonia.

Worse Than Death is transcribed from Dr. Langton’s clinical notes taken during the course of the  treatment.

Along with my story, this edition includes 24 works by the following 19 poets and authors:

Call Me Karma by Linda M. Crate

Dora of Boat Landing Road by Ann Wuehler

Eating the Elephant: What You Don’t Know You Know by Kimberly Rei & Dean Shawker

Echoes in the Silence by Avery Hunter

Enter the Apocalypse by Jack D. Harvey

Fine, I am the Monster by Linda M. Crate

Hairy and Scary by Don Money

Holy Mother of the Drowned by Laila Amado

Horned Demon by Janis Butler Holm

Jesus Is My Co-pilot by Delphine Gauthier-Georgakopoulos

Just What I Want by Warren Benedetto

Kings of Winter by Engilbert Egill Stefánsson

Look for the Faces by L. Anne Greenspan

Nothing But A Monster by Linda M. Crate

On an Old Billy Goat by Dennis McFadden

Organ Donor by Trier Ward

Return of the Drummer – Part Four by Jodi Jensen

Rides by Trier Ward

The Gift of Immortality by Lori Green

Vampire Bunny by Janis Butler Holm

Waking by Trier Ward

Walker – Part Four by Glynn Owen Barrass

When Did I Say I was Only Love and Light by Linda M. Crate

Your Society by Linda M. Crate

#shortstories #shortfiction #weirdfiction #horrorfiction #fiction #newfiction #readingcommunity #shortstorylovers #readers

If you can’t say anything nice…

One of the misunderstandings(?) I had with some (most?) members of the Canada Writes Facebook (CWF) group before they banned me was my critiques. Many members use the site to publish their poetry or passages from a WIP.

When I see work presented to the public, I assume the writer wants a response. I appreciate reviews and criticisms of my work. The ones I appreciate most are where a thoughtful reader has provided insightful suggestions on how to improve my stories – and they can always be improved. Glowing reviews that extoll my genius (not many of those) are flattering but do little to advance my craft. I assumed other writers wanted the same.

They don’t – or at least on CWF they didn’t. There was a consensus among the members that I was overly harsh when all the person who posted wanted was a “like” or a “love” to fulfill their ongoing fantasy. In other words, I was told if you can’t say something nice, don’t say anything at all (and I thought I was doing them a favour).

How, you might ask, does someone improve at anything with that kind of attitude?

I was never rude and usually edited out the initial sarcasm, but my comments weren’t ambivalent and could sting depending on the thickness of your skin. I mean, who’s got time to try to figure out if it’s a compliment or a criticism? Are we not adults? Have we such fragile egos that one person’s opinion of our writing is going to devastate us, destroy our dream of being an overnight bestseller, or break our spirit beyond repair?

Apparently so.

I’d like my writing to be my one true thing. That means no compromises, no delusion, and being honest with myself and others (We’re talking writing here. In life I’m as duplicitous as anyone else, maybe more so).

So, here’s the dilemma.

Two writers have been very kind and generous regarding my writing specifically and my career generally. That’s not to say their magnanimity has increased my book sales. I’ve said thanks, but I thought I’d like to reciprocate – and review one of their books (you see where this is going?)

Their books are okay, but they’re not great, three stars, maybe four if I factor in they’re error-free and professionally produced – though both are likely the result of buying services from professionals.

I’d like to think when they read my review they’ll acknowledge my intent to make them an even better writer. I hope they’ll consider my constructive comments and suggestions on how their book and/or subsequent writing might be improved.

But I think they’ll be pissed ¬– sort of like being bit by the dog you just fed.

I used to think I had a responsibility to write and post an honest review of any book I’d read – to the author and readers. Now I’m wondering, what’s the point?

Ralph Waldo Emerson said: “A little integrity is better than any career.” I might have to rethink that – the integrity part.