I've been working on THE LUNATICS' BALL and have just about no submissions out in the world. Now, two acceptances within three days. One of them from the second place that responded, one of them from the first place that responded! Or maybe I should say eight acceptances, since FLASH BOULEVARD just took a group of seven micros. Out next January or February. I love Francine Witte's FLASH BOULEVARD and I'm very excited.
I have a new story that started as a flash and deepened and grew into a (short) short story, and I just sent it out to a bunch of places, and got one rejection yesterday (nice, but disappointing, since I published there before) and then my second response was a super-nice acceptance today from BULL! (Unforgettable opening line: "This is brilliant.")
I love BULL. Their fiction is consistently good. They've published a lot of writers, and stories, I'm crazy about. I published a satirical flash with them last year ("The Peak of His Powers"), but "Randall's Commute" is quite different, almost religious at the end.
It will be five or six months before it's out. I like knowing something's coming out in the future. My nonfiction flash "Ode to My Cat, Ten Years Gone" will be coming out in SWEET next spring also.
When Tom Conaghan of Scratch Books in the UK asked me to write an introduction to a classic short story whose writer had died before 1952, Poe was one of the first authors who occurred to me. Loved writing "On 'The Tell-Tale Heart.'"
Scratch Books posted the link on twitter with this cool illustration (don't know by whom or from where).
Two invitations yesterday and today.
Yesterday Ashley Balcazar, the graduate student in Jill Talbot's graduate seminar "B(l)ending Genres: Fiction and Nonfiction," wrote to ask whether our interview could in fact be published in a portfolio of student interviews at AMERICAN LITERARY REVIEW. Before we did the interview, we'd agreed that it would just be for the class. I was frank and informal in a way I probably wouldn't have been if she hadn't been bipolar herself and if the interview was for publication. I guess it's probably okay, with some cuts.
I just finished the craft essay on hybridity and THE LUNATICS' BALL for the W.W. Norton textbook, improved after back and forth with my friend Matthew. No telling whether the publishers will want it, but I have my fingers crossed.
Francine Witte just invited me to be one of the spotlight readers on December 2 at the new online reading series she's co-curating with Meg Pokrass THE PROSE GARDEN.
Bulb Culture Collective just posted their Halloween pubs individually, so "Raney's Imaginary Friend" is now more accessible. Maybe I'll get some readers.
We just did a new piece of my fiction in writing group today, and I'm pleased to report there are no literary references in it.
Steve just got his first blurb for his novella. Exciting!
Halloween was a busy day for publications. "Raney's Imaginary Friend" seems to have come and gone pretty much unnoticed. Oh well. It was a reprint anyway, but it's a story I've always liked. I don't write much longform fiction. Working on some flash this past few weeks has reawakened my interest in flash fiction too. I've gotten rusty. I managed to come up with a flash that I hope Laura Black at FICTIVE DREAM will like and another one that I sent elsewhere.
An unexpected opportunity: "The Lunatics' Ball" might be included in a chapter on hybrids in a writing textbook. W.W. Norton would have to approve but for now the textbook writers would like a craft essay, and writing that has been rejuvenating. Even if they don't use it, writing about the project has helped me focus on why I'm doing it and the craft choices I've made.
For no reason at all: Van Gogh's "Corridor in the Asylum," which editors at separate publications used to illustrate one of my pieces and one of Steve's pieces. At around the same time if I remember right. We're a good match: apparently both mad. I'm not sure you'd know the light-filled corridor was in a mental asylum if you didn't know Van Gogh's story. A bit jumbled and chaotic in the foreground, a possibly infinite series of portals, but light-filled.