Tag Archives: Tin House

Writing Wednesday: Oxford Comma for the Win!

26 Mar

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Remember a while back when I posted about the story about Kerouac and Burroughs getting into a duel over the Oxford comma—or more so my reaction to that story?

Well, I just came across two recent articles fighting for this little bit of punctuation.

For up this Buzzfeed article that argues—quite humorously and convincingly—about the necessity of the Oxford comma.

Second, this Tin House article provides historical context to the Oxford Style Guide.

Yes, I’m a firm believer in the Oxford comma—or as it was called when I did my editing certification at NYU, the series comma. The Beats may be all about “open punctuation,” meaning very little punctuation, but I’m old school. I like a heavy dose of commas.

 

How do you feel about the Oxford or series comma? Am I a total nerd for even thinking about this??

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Gender Bias Strikes Again in the Lit World

6 Mar

VIDA charted the number of male-versus-female book reviewers and authors reviewed—and it doesn’t look good. By and large, men are reviewing and getting reviewed much more often than women. And yet, according to this old article on NPR, women read more than men. Go figure.

Two years ago, I presented the argument I’d heard that women aren’t submitting as often as men to the big-name publications. I’ve heard it said that this is because men are more likely to take risks or feel like they could actually get published in these magazines and journals, while in contrast women feel like they aren’t good enough writers yet and so don’t query as often in general and that when they do it’s to smaller, lesser-known publications. I’d still like to see some hard evidence of this.

Tin House responded to this year’s VIDA report, with editor Rob Spillman saying:

Our unsolicited submissions are nearly 50/50 consistently year to year, and our acceptance rate is also 50/50. Agented submissions average closer to 2/3 men versus 1/3 women, with acceptance rates around 60/40. Interestingly, the number of agents who are sending these submissions are 2/3 women versus 1/3 men. We were also surprised to find that although we solicited equal numbers of men and women, men were more than twice as likely to submit after being solicited. This even applies to writers I’ve previously published.

History has taught us to read “dead white men” so I don’t think it’s all that surprising that even female agents would pass along more male writers than female. What I do find curious is that, according to Spillman, women writers are less likely to send work in when it’s directly asked for.

 

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“Flophouse Budget Lifestyle”

27 Feb

Remember the other day when I waxed poetic about my submission spreadsheet? Well, I just stumbled upon Aaron Gilbreath’s article “The Business of Tracking Lit Mag Submissions” on Tin House‘s blog. I loved his old-fashioned pen-and-paper advice. This paragraph punched me in the gut:

Accepting contributor copies as payment for something that took six to twelve months to write; subsisting off microwavable Trader Joes food in order to keep your expenses low enough that you can afford time to write; working temp and odd jobs while publishing in magazines that writers respect but non-writers have never heard of – that’s monkey business. To have an adult’s business mindset and the flophouse budget lifestyle of a twenty year old musician seem antithetical, but I think of those things as part of the business of writing: few poets or essayists make enough money to support themselves by writing, but if you’re willing to live frugally and without popular recognition, you can enjoy a gratifying creative freedom by writing for literary magazines.

It’s so important to protect your creative freedom. There was a time when I didn’t. When I’d take little writing jobs here or there just for the few extra pennies in my pocket and the thrill of seeing my name in print. It took a breakup for me to realize I’d been squandering my time and my creative energy. I don’t publish as much these days, but the writing I’m doing is better, more thoughtful, more “me.” It’s worth more, to me.

And yet it’s so difficult to explain what Gilbreath phrases as “To have an adult’s business mindset and the flophouse budget lifestyle of a twenty year old musician” to someone who isn’t an artist.

Especially when you live in New York City, where the first question someone asks you is “What do you do for a living?” and where you’re judged by which neighborhood you live in. Here, a box of pasta costs double of what it costs over the bridge in New Jersey. Being middle class in New York City isn’t really the same as being middle class in other parts of the country.

Take this quote from The New York Times’ article “What Is Middle Class in Manhattan?“:

By one measure, in cities like Houston or Phoenix — places considered by statisticians to be more typical of average United States incomes than New York — a solidly middle-class life can be had for wages that fall between $33,000 and $100,000 a year.

By the same formula — measuring by who sits in the middle of the income spectrum — Manhattan’s middle class exists somewhere between $45,000 and $134,000.

But if you are defining middle class by lifestyle, to accommodate the cost of living in Manhattan, that salary would have to fall between $80,000 and $235,000. This means someone making $70,000 a year in other parts of the country would need to make $166,000 in Manhattan to enjoy the same purchasing power.

Or this one from NY Daily News‘ “N.Y.C. so costly you need to earn six figures to make middle class“:

In Manhattan, a $60,000 salary is equivalent to someone making $26,092 in Atlanta.

And of course, there’s this one from The Huffington Post’s “New York City’s Middle Class Is Facing An ‘Affordability Crisis,’ Says Christine Quinn“:

City Council defines “middle class” as those with a household income within 100 to 300 percent of the area median income (AMI). In New York City, that means an income ranging from $66,400 to $199,200.

I personally don’t have a “flophouse budget lifestyle.” I have a Career. Yes, capital “C.” I enjoy the work I do, and it also affords me the creative space I need to work on my writing without having to make a living off my writing, though I do earn money for my writing.

But, what does “lifestyle” really even mean? Reading and writing, and even being part of the literary community, do not require much money. There was some talk a while back about bookstores considering charging for readings, however most readings in New York City are free. Libraries lend out books for free. Museums have pay-what-you-wish days. There are more literary opportunities for writers in New York City than in many other places in the country, so in some ways it evens out. But maybe that’s just wishful thinking.

I did think this Onion article was funny, though.

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