Gay and Non-Gay markets

I’m trying to find a “home” for several of my short stories.  Most of them are gay-themed — IN A WINE PHASE, CROTCHWATCHERS, MIKE’S POND.  Some of them are not — THE TROUBLE WITH FINKLESTEINS.  My standby resource is Duotrope Digest, which is a free, searchable database of literary publications.  A search of journals that are interested in ‘GLBT’ themes gets me a list of 43 pubs, but over half are lesbian-oriented, the remaining half are about 50% adult/erotica, and the rest are mainly genre-specific (sci fi, fantasy, or romance) .   One journal I want to check out is Chroma, a queer pub based in the UK and listed as open to a variety of genres.

I’m also trying to identify the mainstream journals that have occasionally published gay-themed stories;  there are so damn many to go through it could be a full-time job.  The publishing business has changed, as it has for the broader entertainment industry.   The number of gay-identified prints is shrinking while the mainstream media increasingly incorporates LGBT voices.  I’m not sure how I feel about it.  It’s nice that there’s greater access to literary LGBT portrayals and storylines just as you can find more LGBT characters on network television and wide-release movies.  But I find there’s still a lack of depth to LGBT characters in commercialized projects .  It’s the difference between watching Modern Family on ABC versus an independent film on Here! TV (I especially enjoy Here’s Donald Strachey series, Paradise Falls and Dante’s Cove).

So this isn’t exactly a rant.  In my limited research of the short story market, I’ve discovered many journals that publish LGBT-themed lit.  Ploughshares, for example, had a great memoir about working with LGBT youth in foster care by Ryan Berg in its Fall 2008 issue.  But I still think there’s something special about a cozy queer publication that you can read through cover to cover and get lost in an LGBT-centered world.

Weekly Progress Report

I decided that Wednesdays are the best day to write a weekly progress report.  It’ll keep me focused on my writing goals at a time when work and personal life demands are compounding, hold me accountable, and create a mechanism for charting my progress.  Plus these progress posts are pretty easy to write even in the midst of “everything.”

So I’m a little less than halfway through a third read and “light” edit of WHEN THE FALLEN ANGELS FLY.  This is what I do:  write a big novel chunk then pore over it until I can live with moving on with the story.  I wrote 45,000 words of the novel from July to September, and I figure I’m about two-thirds to the end.  Right now, I’m re-reading the part where my protagonist Richard Carroll confronts a second assignment in his training to become an angel.  The re-read/edit is pretty tedious.  I’m hoping to get to the end of my draft in two weeks.  Then, it’ll be a lot more fun writing the last third of Richard’s story.

Quixotic publishing news and non-updates:  Believe it or not, The Paris Review rejected my short story THE TROUBLE WITH FINKLESTEINS.  So maybe submitting there was a little unrealistic, but I couldn’t help myself.  Now I go to Duotrope Digest and find a better publishing match.  Two of my pieces are out on submission:  CROTCHWATCHERS at Nighttrain and MIKE’S POND at Crazyhorse.  I should get verdicts in about a month.

I just sent THE REGISTRATION to the wonderful author Eric Mays.  We connected through the Facebook group LGBTI Writers and Allies and struck up a correspondence.   It’s been really great talking to someone with experience in the biz.  I haven’t tinkered with THE REGISTRATION or had it read for about six months so it’ll be nice to get a new perspective.

Last, I added a link in the spirit of my on-going OPERATION:  OPTIMIZE.  GayWisdom.org maintains a gay history archive, and you can subscribe to their free listserv and receive a daily e-mail telling you about significant events, biographies and quotes from gays past and present.  I’m thinking this will be an awesome source of inspiration for my writing.

Primordial soup

I thought I’d talk about my writing process today.  Not that it’s been too active lately.  Since launching this site, I’ve been obsessively hunting down places to get the word out and trying to operationalize every bit of promotional advice I get from fellow writers.  But on a good day, here’s how it works.

Before I start a project, my head is a primordial ocean sloshing around with pre-developed life forms.  One celled themes.  Flagellating premises.  Microscopic construction sites where characters are built by hard-hat enzymes fitting bits of backstory along a helical spine.  Sometimes there’s an idea that has drifted around in the stew, sealed in membrane, protected from the noxious currents of forgetfulness and self-doubt.  It could  be a fixed impression from my childhood or an overheard conversation on the train or some unconscious brain print that evoked a vivid scene.  Locked in on the floating creature, mental synapses fire.  A web of cranial nerves is activated.  It flexes and extends, morphing into a psychic tentacle reaching toward the protozoan form.  The tentacle probes and squeezes, testing for viability.  If the squishiness is right – not too firm, not too mushy, the neural web prepares for the next stage.   Now it stirs in circles around the creature, capturing proteins of inspiration and Technicolor mitochondria in its centrifugal flux.  Flashing white hot with hope and possibility, the neural web warms the pool like a superconductor.  The perfect temperature is achieved.  Nutrients are absorbed.  Beyond the intrapsychic laboratory, the writer smiles.  Eyes glimmer.  He searches for a computer, a note pad, or even a discarded envelope on which to describe the thing that grows inside him.

The creature bloats.  Cells divide.  They arrange like squares on a child’s board game.  Plotlines.  Diversions.  Dead ends.  Simultaneously, a skin envelopes the mutating thing, signifying its wholeness.  But it remains amorphous.  A narrative pollywog.  Intact but undeveloped.  The psychic waters recede, and the creature flops around, marooned in a stark cerebral landscape.

It’s a vulnerable thing and like aquatic spawn only few will survive.  Some will be collected into formaldehyde  jars  and stored for future experimentation.   Others will be harshly judged and left to desiccate or, subconsciously, be cannibalized by heartier beasts.  But for those deemed worthy, the murky waters will flood in again, and the neural web will scour the pool, testing out new nutrients to feed its creation.  And under the right conditions, the creation will learn to swim and become its own entity, unaware of the forces that brought it to life.