I am a seriously committed Christian. That does not, by any stretch, mean that I should be associated with mainstream evangelicalism, the Christian Right, or mainline Protestantism … and certainly not with Roman Catholicism which in my view is thoughtlessly, perturbingly associated inextricably with Christianity; it comprises a system quite distinct from the one described in the New Covenant writings.
The post got a handful of likes and retweets. So I thought an explanation was in order. The following is an overview of the sad but true economic reality of literary magazines, and what writers should know as they stake out the terrain. The decline of the print publishing industry and the constant near-collapse of the news industry has seen publishers of all stripes frantic to monetize a readership that continues to dodge online advertising and refuses to pay for any form of subscription.
Meanwhile, print periodicals — including, and perhaps especially, literary journals — are extremely costly to produce and continue to lose subscribers as readers increasingly move online. Which is not to say that literary journals have ever been financially viable.
Even the illustrious Harvard Review, my literary alma mater, would disappear were it not for generous donors. This is true of all but maybe two or three journals. As publishing industry veteran Jane Friedman notes: And in recent history, much of this funding has begun to disappear: So the first thing to understand is that if a literary magazine is paying you for your work, they are likely doing so out of grant money, not pockets deeply lined by the publishing of literary fiction and poetry.
Lit mags receive a lot of submissions — this can range from many hundreds to many thousands each year — which they read and then accept or decline. Those declined are read carefully, often reviewed by several unpaid readers each.
Those that are accepted go through a minimum of two rounds of editing often more. Then the work must be formatted and proofed, and, at last, when the issue is completed, it is promoted on social media and by whatever other means possible.
This process represents hours and hours of time. And while some lit mags can afford to pay some members of their staff, many are entirely staffed by volunteers.
If you consider that, in their non-literary lives, these same people are paid to do things, you could think of every hour they spend working at literary journals as negative money. They do it because they love it, of course.
Editors of small journals are often writers themselves. Almost without exception, people who work at lit mags are burning the midnight oil writing fiction and poetry, just like you.
Nobody in this equation is bringing home the bacon. This means that about eight percent of literary magazines are currently paying. I suppose it is possible to build your entire writing career submitting only to the eight percent of literary journals that are in a position to pay you, but here are a few reasons why writers submit to the other 92 percent: To build up their writing credentials The majority of literary journals that pay are also the biggest, oldest, and most prestigious.
Consequently, they are also the most competitive. To reach a maximum number of readers Refusing to submit your work to 92 percent of literary journals limits your readership. If your goal as a writer is to get as many eyes on your work as possible — and arguably, it should be — limiting your submissions to eight percent of available publications does seem a bit like cutting off your nose to spite your face.
To work with editorial staffs who have the time to care Larger publications receive a staggering quantity of incoming submissions.
Smaller publications run at a less frantic pace.An American Elegy by Frank Ticheli Date: July 1, Author: andypease 2 Comments I thought for 4th of July weekend I would write about an America-themed piece, so Ticheli’s An American Elegy rose to the top of the pile.
“You’re looking for something that has a purpose, so you can say “why did the music do what it did?” At its best, music goes beyond something you can put into words.” (TB) FT = Frank Ticheli’s criteria John Barnes Elegy 4 Chance, John Barnes Incantation and Dance 4 Chen Yi Spring Festival 3.
Students will then reflect, in their ongoing music journal, why they believe the composer chose each instrument section to play the melody or countermelody when they did, and describe how each instrument section’s sound adds to the overall tone color and mood of the piece.
In the years following the start of the national commissioning program, local chapters have begun to commission new band works themselves, such as Frank Ticheli's An American Elegy, in memory of the Columbine High School massacre.
Access provided by Scholarly Communication. LOG IN. Virtual ads for virtual products gum that chews better Old Navy sweaters McDonald’s hamburgers Toyotas Hondas Oldsmobiles hot wheels for prosperous suburban jerks jamming up expressways carbon dioxide flying into an atmosphere of used to be American greatness faded into days of fat complacence!