Saturday, September 14, 2024 Women Who Submit (WWS) hosts our 11th annual SUBMIT 1 Submission Drive & Fundraiser. This marks the one day a year we encourage woman-identifying and nonbinary writers across the globe to send one of their most beloved pieces of writing to tier one journals as one community.
As an act of solidarity, SUBMIT 1 dares to connect marginalized writers to top tier editors and publishers, widening the spectrum of voices reaching audiences and influencing arts and culture across the world. And you can help!
HOW TO PARTICIPATE:
1. Before September 14th, study this list of “Top Ranked Journals of 2024” with current open calls to find a good fit for your work. BE SURE TO READ AND FOLLOW THE GUIDELINES.
2. On September 14th, submit one of your most beloved pieces of writing to at least one tier one magazine from wherever you are in the world at any time of day.
3. Join one of the following SUBMIT 1 Meetups to submit as a community:
WWS-Los Angeles Saturday, September 14, 2024, 11am-2pm Highland Park Brewing: 1220 N Spring St, Los Angeles, CA 90012 Bring computers and money for beer and snacks Masks recommended & provided Contact: Xochitl-Julisa Bermejo (admin@womenwhosubmtilit.org)
WWS-Long Beach Saturday, September 14, 2024 10am-12pm The Hangar at LBX: 4150 McGowen St, Long Beach, CA 90808 Contact: Lucy Rodriguez-Hanley (lucy@lulustuff.com)
WWS-West Los Angeles Saturday, September 14, 2024, 2pm-4pm West Hollywood Library: 625 N. San Vicente Blvd, West Hollywood Contact: Angela Franklin (afrankone@gmail.com)
WWS-Bay Area Saturday, September 14, 2024, 1-3pm Yerba Buena Center for the Arts, 701 Mission Street, San Francisco, CA 94104 Contact: wwsl.bay.area@gmail.com
WWS-Austin, TX Saturday, September 14, 2024 at 9:30am Central market Cafe, Austin, TX Contact: Ramona Reeves (ramona.reeves@gmail.com)
4. Tag @WomenWhoSubmit on Twitter (or X) and Instagram and use the hashtag #SUBMIT1, to share when you’ve submitted, so we can celebrate with you!
5. After submitting, log your submissions with THIS FORM to help WWS track how many submissions were sent out as a community.
HOW TO SUPPORT:
In conjunction with SUBMIT 1, WWS is raising $5,000 to support projects like purchasing new technical equipment to ensure our hybrid workshops and panels are offering the best quality of online programming making professional development accessible to any writer in need and growing writers funds to help more writers offset the costs of starting and maintaining a writing career.
By donating to the SUBMIT 1 Submission Drive & Fundraiser, and by sharing the fundraiser link and flier on social media and with your communities, you help spread the word on WWS’s mission to push the needle in publishing toward equity and inclusion as one.
Remote community circles and online discussion boards
WWS HISTORY:
Inspired by the 2009 VIDA Count from VIDA, Women in Literary Arts, which published quantitative evidence illustrating the dearth of women’s voices in top tier publications, Women Who Submit was founded in 2011 to empower women writers to submit work for publication and help change those numbers. In September 2014, a group of writers gathered at Hermosillo Bar in Highland Park, CA for a day of beers, cheers, and literary submissions. It was the first time we called on our WWS community to submit to tier-one literary journals en masse as a nod to the original VIDA Count. SUBMIT 1 continues today as an annual event and call to action for equity and wider representation in publishing with submission drives hosted at public places across Los Angeles. From 2020-2023, we moved our annual gathering to the @WomenWhoSubmit Instagram, and this year we return to a focus on public meetups with online support.
Women Who Submit is proud to serve woman-identifying and nonbinary writers across the nation and the world through our Chapters program. Started in 2017 by cofounder, Ashaki M. Jackson, WWS Chapters has continued to grow under the leadership of Chapters Director, Ryane Granados with support from Chapters Liaison and WWS-Long Beach Chapter Lead, Lucy Rodriguez-Hanley. We thank Ryane and Lucy for their last four years of service. Together they have been essential in making WWS resources available and accessible to countless writers and community members.
Women Who Submit is excited to share that Ryane Granados’ first book, The Aves, won the 2023 Leapfrog Global Fiction Prize and is slated for publication in fall 2024! As she takes on this new chapter in her writing career, she bids farewell to WWS Chapters. WWS thanks Ryane for her commitment and grace and sends many claps and cheers for what’s to come! As we like to say in orientation, once a WWS member, always a WWS member!
Women Who Submit is proud to welcome our new Chapters Team! We happily announce as Chapters Director, our former Chapters Liaison, Lucy Rodriguez-Hanley, and introduce as Chapters Liaison, WWS member and collaborator, Thea Pueschel.
Please read below for a farewell message from Ryane and an introduction from Lucy and Thea.
Literary Play Cousins: A Farewell Message From Ryane Granados:
Recently my inquisitive middle son asked me why he had so many cousins. I only have one sister, so when I married my husband, I was drawn to his familial bonds that came with multiple siblings through biology and marriage. In addition to the cousins who carry the same surname, my son also has the privilege of play cousins. These enduring connections defined my childhood, and in turn they are enriching his. Play cousins are a mainstay in the Black community and they are bonds born from chosen family. These relationships transcend ancestral ties and date back to slavery when families were often torn apart. In my son’s case, his play cousins are the kids of our closest friends. The arrangement is best described as a braid with a group of threads crossing over and under each other into one.
This same braided image comes to mind when I think of my role as Chapters Director for Women Who Submit. I accepted the role at a crossroads both professionally and personally. I had stepped down from a tenured teaching position to manage the medical needs of another one of my children, and I found myself in search of an identity that encompassed retired professor, overwhelmed mom, artist, activist, author, and hopeful community builder. This braid had a lot of threads, but what it was missing was the cultural continuity of close-knit networks. This is what I liken the development of our WWS chapters to be. Expanding our organizational reach was a worthy endeavor, but for me, it wasn’t purely altruistic. In all sincerity, I was in search of literary play cousins and as our chapters grew, I found them. In New Chapter Lead Orientations, I would often joke about the idea of meeting chapter leads all across the globe; a kindred connection of cousins with the shared mission of encouraging women and non-binary writers to submit their work for publication.
I am grateful for my time as Chapters Director and after 4 plus years and 35 plus chapters, I find myself at a new crossroads. My gratitude for this journey is matched only by my appreciation for the partnership formed with my longtime Chapters Liaison, Lucy Rodriguez-Hanley. In the ongoing spirit of leadership development, another unexpected byproduct of WWS, I am excited to hand over the role of Chapters Director to Lucy. Additionally, she will be working in collaboration with Thea Pueschel, our new Chapters Liaison. Together they are exceptionally suited to help usher the chapters direction of Women Who Submit into a new and exciting season.
As for me, I am stepping down to focus once again on family, professional commitments, and the launch of my forthcoming novella. I am also stepping out with an identity fortified by my braided connections and my multitude of literary play cousins. In my season as Chapters Director, I was given as much as I gave, and I hope that my interactions will leave a lasting impression on our ground-breaking artistic community.
In Solidarity,
Ryane Nicole Granados
Outgoing WWS Chapters Director
WWS Member
Welcome
Q & A with the Chapters Team: Introducing Chapters Director, Lucy Rodriguez-Hanley and Chapters Liaison, Thea Pueschel
How and when did you first hear about Women Who Submit and how did you first become involved?
LUCY RODRIGUEZ-HANLEY: In 2013 I took a memoir workshop with writer/editor Seth Fischer. He encouraged the women in the class to join Women Who Submit. At the time, I had no idea the positive impact this community would have in my life. I’ve gotten published by my sheroes; Vanessa Martir, Reyna Grande and Myriam Gurba. I have benefited from mentorship and a myriad of resources that have helped develop my voice as a writer. I have two young children and have found solidarity with other moms in the community. The people I’ve met have become favorite people and/or the most fantastic friends.
THEA PUESCHEL: I first heard about WWS from the Airing out Your Dirty Laundry Workshop I took at the 1888 Center in Orange, CA. The facilitator asked me if I had been submitting my work. I responded maybe once or twice a year just to validate that I am not a literary writer. She told me I needed to join the WWS. This was before the Lockdown times, and so I had to wait 6 months to attend an in-person orientation. The first time I submitted with WWS was May 11, 2019, according to Submittable.
What excites you about working with WWS Chapters?
LRH: I love community building and encouraging women and nonbinary writers to submit their work to publications. I am an optimist, every month I see the change this organization is making when our members get published, even the rejections count. Facilitating opportunities, spreading our mission and sharing resources with our chapters, like our upcoming 2024 Summer Workshops or soliciting submissions to our anthology or grants is very gratifying.
TP: Helping others facilitate the magic of bringing more voices to the literary landscape.
What is something you wish people knew or understood about the WWS Chapters?
LRH: A chapter can be as simple as two writers getting together to submit their work to publications. You don’t need big numbers to be a successful chapter. As a Chapter Lead your sole duty is to host the gathering and cheer submissions on (most of us clap when a submission has gone out). You are not there to read someone’s work, facilitate a workshop or provide feedback. You can have multiple people leading a chapter, you can also have multiple chapters in the same region (Los Angeles and the Bay area both have multiple chapters).
TP: Each WWS chapter is a support network. A net to catch us when we get those hard-hitting rejections. A cheering squad for when we get those hard-won yeses. An audience to clap when we put our big kid chonies on and submit. For those of us humans that have come up as creative lone wolves for years and decades because we may not have the creative connections or known how to maneuver the literary world the WWS Chapters offer support. A village for us to walk on our two legs, to transform from lone wolf creatives to writers with a community. I think additionally, it’s such an important space particularly for those of us who grew up working class without connections whether we were the first generation to go to college or were bitten by the creative bug without formal education. WWS chapters bring experience, and resources.
Not all WWS Chapters are the same, but they are all worthwhile and community based.
If someone was interested in starting a chapter in their area, how might they begin that process and what does it look like?
LRH: If possible, I suggest attending a meeting to make sure it is something you want to take on. Ask yourself why you want to lead a chapter and what you’d like to gain from the experience. Do you want to lead alone or co-lead with one or two people? The process is simple, after filling out an application, we schedule an orientation where we share information, resources and best practices about the organization and the submission process. We also have a social media manager that can help you spread the word when you are ready to launch your chapter.
TP: It’s pretty easy peasy… 1. Check the WWS website for orientation dates, 2. Follow the direction and guidelines on the WWS website and submit your packet of interest to start a WWS Chapter, 3. Patiently wait while we analyze the materials, 4. Once you get your invite attend a WWS orientation, 5. Ask us questions!
We’re all writers and creatives first at WWS, what are you working on these days? Do you have any exciting news to share?
LRH: I am writing 500 words per day. The last six months have been hard for me on the creative front. I started a writing challenge this month led by fellow mom and WWS member, LiYun Alvarado. It’s a lot of shitty first drafts but I’m writing again! The goal is to get back to my memoir in May. I’m really happy about this and celebrating every day that I write a new page.
TP: Right now, I am in the process of having rehearsals for two plays that I am directing for the Short + Sweet Hollywood 10-minute play festival. I haven’t directed in a decade, so I am extremely excited about this.
In 2021, I had a solo exhibition of mixed media work at the Center in Orange. I realized that once the triptych of large format paintings stood next to each other I wasn’t pleased with how they looked. Separate I felt that the intention was clear, but when the series was lined up, I realized they just didn’t work. I like the foundation of the original paintings but feel that more is missing than my desired effect which is about displacement. I’ve been in the process of making smaller concept mockups and playing with color and design in my studio.
Monday, June 17th 6pm-7:30pm I am leading a FREE workshop Discovering Your Subconscious Thematic at the Cerritos Library in the Skylight Room. It’s a journey of personal discovery for writers. It provides a safe space to sift through the stories that attract us and analyze our own work. By discovering our personal theme, we are able to connect on a deeper level with our own work and create more generative flow.
Join Women Who Submit in celebrating the publication of our third anthology, TRANSFORMATION! Thanks to the work of Managing Editors, Ryane Granados and Noriko Nakada, Advising Editor, Tisha Marie Reichle-Aguilera, eight Genre Editors, Lorinda Toledo, Erin Anadkat, Flint, Laura Sturza, Luivette Resto, Hazel Kight Witham, Aruni Wijesinghe, Lucy Rodriguez-Hanley, and publisher Nikia Chaney and Jamii Publishing, our third anthology features poetry, fiction, creative nonfiction, and drama from 42 women and nonbinary writers from around the world.
“Given these perilous times of great global and local humanitarian failures, cruel objectives cemented by morally repugnant mindsets, and given the history of violence which has proven all too predictable, I know my words may appear hugely insufficient in protecting the most vulnerable, may prove never to be enough to diminish the sorrow and suffering of others, and yet as a writer, I continue to write.”
Inspired by these words by Helena Maria Viramontes, shared at her AWP 2020 keynote address, Women Who Submit’s third anthology, TRANSFORMATION, centers work that speaks to the ways writers and other artists can promote change in the world.
The Association of Writers and Writing Programs (AWP) Conference is next week, and Women Who Submit is here to help you maneuver through the mayhem. If you’re unfamiliar with the AWP conference, it is the largest writers conference in the nation that lasts four days. It’s typically in the winter, and it moves around the country each year. Next year, AWP 2025 will be in Los Angeles! We’re already thinking about what fun event we can do to celebrate.
If you are attending AWP Kansas City, WWS hopes to help you with a list of events from our members as well as from writers, presses, schools, and orgs we love and support. Look through the listing and find the folks you’d like to link up with. My favorite thing to do at AWP is attend a couple of panels featuring my friends. It’s always nice to support your community, and seeing friendly faces at the front of the room is calming. Plus, I know I’ll never be disappointed (there’s a reason they’re my friends).
If the bookfair is where you like to spend your time, be sure to visit Women Who Submit at the Kaya Press table #838. We will be selling copies of our newest anthology TRANSFORMATION, Thursday, Friday, and Saturday from 9am-12pm. Come say hi!
A quick list of dos:
Drink water
Carry snacks
Take breaks outside the convention center
Say yes to invitations to coffee, lunch, or dinner
Panelists: Maria Maloney, Carolina Monsiváis, Elisa Garza, Katherine Hoerth, Laura Cesarco Eglin
Description: Throughout our lives, we encounter various health challenges and gender expectations on our bodies that test our physical and emotional well-being. However, there is beauty to be found in celebrating our bodies. This panel of poets shares and discusses poetry of resilience and celebration of our bodies to find meaning and perspective. The panel explores the transformative power of writing that honors the courage it takes to embrace the diversity of our bodies.
This virtual event was prerecorded. It will be available to watch on-demand online starting on Wednesday, February 7, 2024 through Thursday, March 7, 2024.
Room 2209, Kansas City Convention Center, Street Level
Panelists: Juanita Mantz, Toni Ann Johnson, Hannah Sward, Nikia Chaney, and Laurie Markvart will read from their work and discuss writing about difficult topics based on themselves and their families.
Description: How do you write your tale with compassion and love when it is a hard story to tell? These five writers will read from their works of memoir and autobiographical fiction touching on their own stories and their family stories of addiction, mental illness, trauma, neglect, and chaos. After, they will talk about how they were able to navigate the choppy waters of truth telling in their books, and how they use their voices for change and to highlight their own stories of redemption and forgiveness.
Room 2215A, Kansas City Convention Center, Street Level
Panelists: Viktoria Valenzuela, Cloud Delfina Cardona, Carlos Espinoza, Maria Maloney, Edward Vidaurre
Description: As the United States continues to diversify, state legislatures advance bills that target people of color and the LGBTQ+ community. Publishing is one of the only industries that gives a truer representation of the richly complex Latine populations in the U.S. and their contribution to culture, history, and literary landscape. This panel of independent publishers from the U.S.-Mexico border discusses the importance of publishing Latine, including LGBTQ+ Latine authors in Texas and the U.S..
Description: Accustomed to wielding multiple perspectives, many BIPOC, queer, and neurodivergent writers are drawn to fragmented or hybrid forms: multimodal cross-genre mosaics of personal experience, and cultural, social, political, or natural history. Our panelists work across poetry, performance, nonfiction, and folklore, and will explore the craft and challenges of fragmented forms, offering inspiration and motivation to embrace hybridity as a way to claim space for historically marginalized communities.
BOOK SIGNING: Incantation: Love Poems for Battle Sites (Mouthfeel Press 2023) by Xochitl-Julisa Bermejo
Description: Four writers will discuss decolonizing American literature through the examples of literary works in the colonial languages of English and French from Black, brown, and Asian writers across the world, as well as literature in Indian languages, including Urdu and Bengali. Panelists will discuss the goals of decolonial anglophone literature and consider the challenges and strategies of writers confronting imperial patterns in American Literature.
Room 2103A, Kansas City Convention Center, Street Level
Panelists: Melisa Cahnmann-Taylor, Deb Olin Unferth, Elline Lipkin, Mihaela Moscaliuc, and Iris Jamahl Dunkle
Description: “I’m not good at writing,” “I don’t know what to write,” and “My English isn’t good enough”—working with creative writers outside English departments requires shifts in expectations, approaches, and consciousness. This panel gathers those working in a variety of nontraditional settings: libraries, prisons, hospitals, and teacher certification programs. Each panelist addresses challenges they’ve encountered and strategies for success to teach with courage, creativity, and care.
Room 2215C, Kansas City Convention Center, Street Level
Panelists: Cesar De Leon, Sehba Sarwar, Emmy Perez, Carolina Monsivais, Celina Gomez
Description: Poets Against Walls anthology/handbook features poetry and hybrid writings from the geopolitical spaces of the borderlands, along with a history of the collective’s social actions, discussions on craft, and writing prompts. In addition to reading short selections of their work and speaking on the value of writing directly about communities under attack, panelists will provide tips and strategies for writing what some may feel dissuaded from in workshop spaces: crafting work for social change.
Room 2105, Kansas City Convention Center, Street Level
Panelists: Jacqui Morton, Erika Meitner, Carla Sameth, Maria Novotny, Robin Silbergleid
Description: How do writers use poetry and nonfiction to explore reproductive choice, health, and loss? What are the unique challenges and risks raised in the act of writing about reproductive topics, including infertility, miscarriage, and abortion? How does the stigma of discussing the intimate emotional and bodily aspects of reproduction carry over to the page? How do these issues change across genre? Writers with a range of experiences and backgrounds will read from their work and engage these issues.
Room 2104B, Kansas City Convention Center, Street Level
Panelists: Sarah A Chavez, Ever Jones, Ching-In Chen, Rochelle Hurt
Description: This panel explores inclusive innovations in creative writing workshop learned from remote instruction during the pandemic. Since “getting back to normal,” an assumption has been made that we can and should return to previous pedagogical models. But should we? Has the traditional workshop model successfully served the growing diversity in classrooms? From varied subject positions and range of courses taught, panelists will elaborate on ways that workshop practices can and have shifted toward equity.
BLK + BRWN.: 104 1/2 W 39th St, Kansas City, MO 64111
Featured readers: Stephanie Niu, m. mick powell, mónica teresa ortiz, cloud deflina cardona, Bianca Alyssa Pérez, lily someson, Ae Hee Lee, Jae Nichelle, and Ashley-Devon Williamston.
Description: Host Publications proudly presents “A Feminist Reading at AWP Kansas City’’ featuring nine women & non-binary authors. A special opportunity to celebrate our 2023/2024 chapbooks, threesome in the last Toyota Celica and Survived By at the independently owned Kansas City Bookstore BLK+BRWN.
READING: AWP Offsite Reading with Co•Im•Press, Green Writers Press, Mouthfeel Press, and Noemi Press
7:30 PM – 9:30 PM
Café Corazón: 110 Southwest Blvd
READING: Macondo Open Mic
8:00 PM – 10:00 PM
Mattie Rhodes Cultural Center: 1701 Jarboe St, Kansas City, MO 64108
FRIDAY, FEBRUARY 9, 2024
BOOK SIGNING: Breaking Pattern (Inlandia Books 2023) by Tisha Marie Reichle-Aguilera & Incantation: Love Poems for Battle Sites (Mouthfeel Press 2023) by Xochitl-Julisa Bermejo
Description: These Chicana/x feminist poets, memoirists, artists, administrators, and professors have invested a collective ninety years on projects that lingered long past their anticipated finish dates. Because we represent communities whose stories might not otherwise be heard, the writing process can be especially daunting. We’ll talk about how we got it done, the communities that supported us, how we handled rejection, how we navigated this long relationship, or how we finally let go and moved on.
BOOK SIGNING: Catastrophic Molting by Amy Shimshon-Santo
Room 2104B, Kansas City Convention Center, Street Level
Panelists: Xochitl-Julisa Bermejo, Luivette Resto, Adrian Cepeda, Vincent Cooper, and Edward Vidaurre
Description: FlowerSong Press and Mouthfeel Press are just a small representation of the Latinx-owned independent presses creating vibrant work in the Borderlands. Both founded in Texas, these presses publish new, emerging, and established writers who’ve historically gone underrepresented, but whose words hold the power of resilience and transformation. This poetry reading celebrates contemporary Latinx poets and their books of struggle, truth, and hope as a call to elevate diverse voices and spread cultura.
Room 3501 EF, Kansas City Convention Center, Level 3
Panelists: Chaiti Sen, Toni Ann Johnson, Rose Smith, Magdalena Bartkowska, and Natalia Sylvester
Description: Who has the right to grow up in American literature? On this panel, authors discuss the joys, challenges, and importance of writing and publishing diverse narratives about American girlhoods. Getting these stories past the gatekeepers, who often misunderstand and reject them for being “too quiet” or “too small,” requires courage and persistence. When our own inner critics tell us such stories don’t truly matter, how do we push beyond our doubt and continue writing on a path to publication?
Room 2104A, Kansas City Convention Center, Street Level
Panelists: Noriko Nakada, Tisha Marie Reichle-Aguilera, Nikia Chaney, Sarah Rafael Garcia, Ryane Nicole Granados
Description: Inspired by Helena Maria Viramontes’s AWP 2020 keynote address, Women Who Submit’s third anthology, TRANSFORMATION, centers work that speaks to the ways writers and other artists can promote change in the world. By focusing on generosity and collaboration, shared leadership and mentorship, and inclusive partnerships, panelists discuss how Women Who Submit makes this change a reality not just in the writing they publish but in the ways they edit, publish, and promote their writers.
READING: A Dozen Nothing AWP Offsite Reading
5:00 PM – 7:00 PM
Vulpes Bastille: 1737 Locust St, Kansas City, MO 64108
Featured readers: César de León, Amy Shimshon-Santo, Michelle Otero, and Eddie Vega.
Description: Friday, February 9, FlowerSong Press will be teaming up with CavanKerry Press, Acre Books, and Perugia Press for an AWP 2024 offsite reading at Habitat Contemporary. A big shout out to Dimitri Reyes for putting this together.
Room 2104B, Kansas City Convention Center, Street Level
Panelists: Olga Garcia, Karleen Pendelton Jimenez, Amelia María de la Luz Montes, Myriam Gurba
Description: tatiana de la tierra (1961–2012) was a Latina lesbian writer and trailblazer. In the nineties, she cofounded Esto No Tiene Nombre and Conomoción magazines featuring Latina lesbians in the United States and abroad. She later authored her iconic For the Hard Ones: A Lesbian Phenomenology. In 2022, Redonda y radical: antología poética de tatiana de la tierra was published in Colombia (Sincronía Press). This panel features some of tatiana’s literary coconspirators to discuss her dangerously delicious life and works.
Room 2103A, Kansas City Convention Center, Street Level
Panelists: Meg Day, Oliver Bendorf, Donika Kelly, Ching-In Chen, Melissa Crowe
Description: Given our nation’s latest investment in suppressing both bodies and books, what is at stake—newly, historically—in the teaching of queer and trans poetics? Five seasoned poet-educators, working inside the classroom, libraries, and community centers, gather to discuss navigating threats on the poems they teach, the poems they make, and the bodies they occupy as they do both. Panelists will offer experiential commentary and strategies for protecting, generating, and sustaining queer and trans people and poems.
Room 2211, Kansas City Convention Center, Street Level
Panelists: James Ducat, Melissa Ford Lucken, Mary Lannon, Phoebe Reeves
Description: This panel explores ways to shepherd a community college literary magazine with diverse, high-risk, low-income students. Topics of discussion include: staff recruitment, pedagogy, editing, layout, budget, advertising, submissions, course credit, and technological tools. The panelists reflect on obstacles—some common, some unique—and equity-minded solutions. Faculty advisors share experiences producing print and online student journals and fostering a vibrant literary community.
Room 2104B, Kansas City Convention Center, Street Level
Panelists: Karina Muñiz-Pagán, Minal Hajratwala, Randy Winston, Maceo Nafisah Cabrera-Estevez, & Juanita E. Mantz (JEM)
Description: Community is essential to a writer’s growth, but what do you do when spaces are inhospitable to your community? Build your own! These innovative authors share how they’ve built thriving programs for diverse NYC fiction writers, global Muslim writers, women/nonbinary writers, domestic workers, and BIPOC+ authors. We share strategies and tools to empower anyone eager to create a nurturing space that centers writers of color, language justice, disability justice, and voices at the intersections.
TABLES & BOOTHS
Antioch University Los Angeles #825
Cave Canem Foundation, Inc. #719
Copper Canyon Press #1223, #1225
Feminist Press #737
FlowerSong Press #T1051
Kaya / Women Who Submit / Blaft #838
Kundiman #1330
Letras Latinas #830
Mouthfeel Press #3021
Noemi Press #1449
Santa Fe Writers Project #3124
Sundress Publications | Sundress Academy for the Arts | Best of the Net Anthology #1111
SUBMIT 1 is the one day out of the year WWS encourages woman-identifying and non-binary writers across the globe to send one of their most beloved pieces of writing to tier-one journals as one community. This is an act of solidarity, not only with our writers, but with editors and publishers as well. SUBMIT 1 dares to connect the literary publishing community as a whole.
September 2014 was the first time we called on our WWS community to submit to tier-one literary journals en masse. Inspired by the 2009 VIDA Count from VIDA, Women in Literary Arts, which published quantitative evidence of the dearth of women’s voices in top tier publications, this submission drive became our annual call to action for equity and wider representation in publishing. In 2014, a group of writers gathered at Hermosillo Bar in Highland Park, CA for a day of beers, cheers, and literary submissions. Since then, we’ve hosted an annual submission drive at public places across Los Angeles, but when the pandemic hit in 2020, we pushed to think of a creative solution to gathering, and the @WomenWhoSubmit Instagram Live programming was born.
1. Before September 9th, study THIS LIST of “Top Ranked Journals of 2023” with current open calls to find a good fit for your work. Links to guidelines are included. BE SURE TO READ AND FOLLOW THE GUIDELINES.
2. On September 9th, submit one of your most beloved pieces of writing to at least one tier one magazine from wherever you are in the world at any time of day.
3. Notify us on Twitter or IG. Be sure to tag us @womenwhosubmit, so we can celebrate you with lots of claps, cheers, and funny gifs.
4. Hang with us on IG Live at @WomenWhoSubmit from 9am to 9pm PACIFIC for a full day special guests, support, and resources. Here is where you can ask WWS members for tips on submitting, get encouragement, or receive LIVE claps for when you hit send.
SUBMIT 1 IG Live Schedule (all times are PACIFIC):
5. After submitting, fill out THIS FORM to help us track how many submissions were sent out, which will help us in our continued mission towards gender parity and wider representation of marginalized voices in literary publishing.
How to Support:
If you don’t plan to submit with us, but would like to support our efforts, please consider making a donation at our Paypal account in the name of your favorite WWS member or underrepresented writer.
The Association of Writers and Writing Programs (AWP) Conference is just days away. People may have even started packing and scrolling Yelp for the best Seattle eats. Whether you go to the AWP Conference to promote your latest title, to catch up with friends, or to fangirl on your favorite author, between the panels, bookfair, and evening events there is enough for everyone. And if you’re like us and get overwhelmed by too many options, let WWS help you narrow down where to spend your time and money. Below is a list of events where you can find WWS members and some of our allies. Stop by one of these places and say hi!
THURSDAY, MARCH 9
PANEL: Too Small to Fail: The Indie Press Prerogative in Advancing Diverse Voices
10:35 AM – 11:50 AM
Rooms 431-432, Summit Building, Seattle Convention Center, Level 4
Panelists: Krishna Narayanamurti, Marcus Clayton, Viva Padilla, AJ Urquidi, Amanda Orozco
Description: The Western US is one of the world’s most diverse regions, but the literary scene remains a “mainly white room.” In what ways is it the duty of West Coast indie journals and micro presses to find and publish writing that upends the norms of institutional gatekeeping? LA-based editors from sin cesar (formerly Dryland) and Indicia discuss their experiments with equity, intersectionality, and digital collaboration to publish crucial work that challenges hidden biases of audiences and the editors themselves.
Description: Have you ever applied for a fellowship, residency, or grant and wondered if your application has what it takes to be a top contender? This is a rare chance to hear from a diverse group of authors who’ve served on selection committees for state and national grants as well as fellowships and residencies. You will gain a better understanding of what judges are looking for, what goes into the selection process and how you might identify which fellowships, residencies, and grants are the best fit.
Rooms 343-344, Summit Building, Seattle Convention Center, Level 3
Panelists: Toni Ann Johnson, Ramona Reeves, Rion Amilcar Scott, Leslie Pietryzk
Descrition: Linked short story collections have become more popular, perhaps in part because of their hybrid nature. They can employ recurring themes, characters, and settings to situate readers in worlds that move beyond the borders of many short stories while stopping short of the breadth and propulsion of a novel. Minding the gaps, or the spaces, is key in writing linked story collections. How does space function between and within linked collections, and what stories does one choose to tell and why?
READING: WWS Happy Hour & Community Mic Hosted by Noriko Nakada
4:00 PM – 6:00 PM
Clock-Out Lounge: 4864 Beacon Ave S, Seattle, WA 98108
Features: Suhasini Yeeda, Carla Sameth, Elizabeth Galoozis, Jamie Asaye Fitzgerald, Sakae Manning, Alixen Pham, Maria Caponi, Michelle Otero, Amy Shimhon-Santo, Jane Muschenetz.
READING: Storyknife AWP Reading & Gathering
5-7 pm
Vermillion Gallery & Bar, 1508 11th Ave
Features: Rowena Alegria, Jasmin An, Sandra Beasley, Jan Beatty, Kim Blaeser, Ching-in Chen, Lydia Conklin, Rebeca Flores, Minda Honey, Amanda Galvan Huynh, Casandra Lopez, Zenique Gardner Perry and others.
READING: #AWPSeattle Off-site Reading
6 pm
Seattle Public Library
Description: Join Veliz Books, Noemi Press, and BOA Editions at the beautiful Seattle Public Library for an in-person reading featuring 10 writers.
READING: Queerly Beloved: An Evening with Foglifter Press
7:00 PM
Corvus and Company, 601 Broadway E, Seattle, WA 98102, USA
ASL interpretation and live-streaming provided
Features: Michal ‘MJ’ Jones, author of HOOD VACATIONS, Joy Priest, author of HORSEPOWER, Miah Jeffra, author of American Gospel, Kazim Ali, author of Inquisition, Dior Stephens, author of CRUEL/CRUEL, Xan Phillips, author of Hull
READING: Nightboat Books Reading
9:00 PM
The Rendezvous Theatre: 2322 2nd Ave, Seattle, WA 98121
Features: Allison Cobb, Andrew Abi-Karam, Dior J. Stephens, Douglas A. Martin, Emily Lee Luan, Gillian Conoley, Gillian Osborne, imogen xtian smith, Janice Lobo Sapigao, Joyelle McSweeney, Kay Gabrial, Kevin Holden, Lindsay Turner, Ronaldo V. Wilson, Rosie Stockton, Samiya Bashir, Tiff Dressen, Wo Chan
FRIDAY, MARCH 10
Panel: Inlandia social justice literature reading
10:35 AM – 11:45 AM
Bookfair Stage, Sponsored by the Dramatists Guild, Exhibit Hall 1 & 2, Summit Building
Panelists: Nikia Chaney, James Coats, Stephanie Barbé Hammer, Juanita E. Mantz, & Cati Porter
Description: Inland Southern California, aka Inlandia, is a sprawling geographic region, the logistics capital of the west, and one of the few majority-minority regions. As writers, we have a responsibility to take an active role in addressing the most pressing social justice issues of our time. Listen to works confronting issues of LBTQ rights, racial inequities, the criminal injustice system, mental health discrimination, and more.
BOOK SIGNING: Imagine Us, The Swarm with Muriel Leung
12 PM PST
Nightboat Books Table: 1024
PANEL: Languages of Belonging: Transcending Borders in Life and on the Page
1:45 PM – 3:00 PM
443-444, Summit Building, Seattle Convention Center, Level 4
Description: Five women writers of color incorporate personal and global histories—of India, Pakistan, and the Netherlands, and within the U.S., California, Louisiana, and the Texas-Mexico border—into their prose, poetry, and hybrid texts. Each writer will discuss her process of transcending literal and figurative borders separating nations, generations, and identities. How do we resolve the conflicts that arise from having histories in multiple places? Where are we traveling from and to in our writing?
Description: What if you were paired with a conserved land for a year to visit and create three poems inspired by place and preservation? In this panel, five diverse, emerging, and established poets from east, central, and northwest regions will share their writing process and poems. Their protected lands ranged from protected habitats, sanctuaries, farms, and ranches, to ecosystems and wilderness preserves. Their poetry and the methodologies used to create their poems will challenge and inspire you.
Description: Panelists share modes and methods towards creating safe space through considering intention as liberatory groundwork for BIPOC women and nonbinary writers, creating intersectional spaces beyond physical boundaries, identifying and becoming part of a writing community, and understanding how intergenerational racial and gender-based trauma impacts amplifying our own work. Join Janaka Bowman-Lewis, PhD, LaCoya Katoe Gessesse, and Mahtem Shiferraw, as we navigate writing and sustaining writing communities.
READING: Feminist Press Presents: Readings by Louise Meriwether First Book Prize Winners
3:20 PM – 4:35 PM
Room 430, Summit Building, Seattle Convention Center, Level 4
Panelists: YZ Chin, Cassandra Lane, Claudia D. Hernández, Melissa Valentine, Annell Lopez
Description: The Louise Meriwether First Book Prize seeks to honor the groundbreaking legacy of Meriwether’s Daddy Was a Number Runner by creating debut publication opportunities for women and nonbinary authors of color. The 2022 winner of the prize will be joined by past winners YZ Chin, Claudia D. Hernández, Melissa Valentine, and Cassandra Lane to read from their work, including a reading from the 2022 Prize winner’s manuscript in progress.
READING: Macondo Writers Meetup & Readings
5:00 PM – 7:00 PM
Anxestral Gallery, 1302 5th Ave, Seattle, WA 98101
READING: Antioch’s MFA: A Night of Reading Hosted by Tim Cummings
5:30 PM – 7:30 PM
Graduate Hotel: 4507 Brooklyn Ave NE, Seattle, WA 98105
Features: Jazmine Aluma, Andrea Auten, Semaj Saint Garbutt, Guadalupe Garcia McCall, Diana Hardy, Scott LaMascus, Malia Márquez, Ari Rosenschein, Kim Sabin, Mireya Vela
READING: Anaphora Arts & Pacific University Oregon Reading
6:00 PM – 8:00 PM
Little Saigon Creative, 1227 S. Weller St, Suite A, Seattle, WA 98144
Reading: Sundress Publications Reading
7:00 PM – 9:00 PM
Old Stove Brewing Co 600 W. Nickerson St. Queen Anne Seattle, WA 98119
Features: Barbara Fant, Kimberly Ann Priest, Stacey Balkun, Atena Nassar, jason b. Crawford, Sunni Wilkinson, Nicole Arocho Hernández, Amanda Galvan Huynh, Cynthia Guardado, Dani Putney, Donna Vorreyer
READING: Texas Review/DIAGRAM/Apogee Reading
7:30 PM
Alley Mic: 1922 Post Alley, Seattle, WA 98101
Features: Katie Jean Shinkle, Ginger Ko, PJ Carlisle, Ander Monson featuring Ananda Lima, Bryan Byrdlong, Angela Penaredondo, Mihee Kim, Tim Jones-Yelvington, Caridad Moro-Gronlier, Kanika Agrawal, Elizabeth Gonzales James, Danielle Pafunda, Jennifer Sperry Steinorth, Dao Strom, Eric Burger, and more.
Structure Cellars 3861 1st Avenue South Seattle, WA 98134
$14.88 – $23.45
Features: Courtney Faye Taylor (CONCENTRATE), Eleni Sikelianos (YOUR KINGDOM, WHAT I KNEW, MAKE YOURSELF HAPPY), Joe Vallese (IT CAME FROM THE CLOSET), Marcelo Hernandez Castillo (CHILDREN OF THE LAND, CENZONTLE, DULCE), Tom Comitta (THE NATURE BOOK, 〇, AIRPORT NOVELLA), YZ Chin (THE AGE OF GOODBYES, EDGE CASE, THOUGH I GET HOME)
SATURDAY, MARCH 11
PANEL: Beyond Writing Well: Making Space for Professional Development in the Workshop
12:10 PM – 1:25 PM
Room 447-448, Summit Building, Seattle Convention Center, Level 4
Panelists: Kathie Bergquist, Sheree L. Greer, & Sarah Browning
Description: While developing writing skills is justifiably central to workshop practice, students often emerge from the workshop with little practical knowledge of the praxis and processes necessary for establishing a viable writing career. Professional development can and should be an important component of creative writing workshops. This discussion will feature strategies and exercises you can easily integrate into your workshop to better prepare your students for the professional life of a writer.
Rooms 431-432, Summit Building, Seattle Convention Center, Level 4
Panelists: Melissa Hart, Juanita Mantz Pelaez, George Estreich, Tanya Ward Goodman, Andrea Ross
Description: What if we told you that instead of spending thousands on a publicist, you could promote your books and find your ideal readers while building your writing portfolio and earning a paycheck? In this panel, we’ll talk about how we’ve perfected the art of identifying key themes and topics in our published books and writing about them for newspapers, magazines, and literary journals. We’ll teach you how to do the same with personal essays, book reviews, profiles, how-to pieces, and feature articles.
BOOK SIGNING: Light Skin Gone to Waste with Toni Ann Johnson
Rooms 431-432, Summit Building, Seattle Convention Center, Level 4
Panelists: Jennifer Berney, Robin Silbergleid, Carla Sameth, Cheryl Klein, Krys Malcolm Belc
Description: How do infertility memoirs rewrite the dominant family narrative? How do they grapple with issues of gender, sexuality, race, and the body? Reading from published memoirs about infertility, miscarriage, reproductive choice, and queer family building, panelists explore the emotional, practical, and legal complexities of infertility and family building outside cisgender and heteronuclear families, such as in vitro fertilization, third party reproduction, blended families, and adoption.
TABLES
Antioch University Los Angeles – 807
Apogee Press – T1203
CALYX, Inc. – T128
Cave Canem Foundation, Inc. – 929
Feminist Press – T405
Kaya Press – 1309
Kundiman – 728
Lambda Literary – 908
Mouthfeel Press – T1122
Nightboat Books – 1024
Santa Fe Writers Project (SFWP) – 1202 (Monica Prince will be selling advanced copies of her next book, Roadmap: A Choreopoem, along with other authors. Come say hi!)
SUBMIT 1 is the one day out of the year WWS encourages women and nonbinary writers across the globe to send one of their most beloved pieces of writing to one top tier journal as one community. This is an act of solidarity, not only with our writers, but with editors and publishers as well. SUBMIT 1 dares to connect the literary publishing community as a whole.
In its 9th year, thanks to an Impact Project grant from the California Arts Council and the support of our fiscal sponsor, Avenue 50 Studio, WWS has expanded this event into the WWS Summer Series. This program includes the Summer Writers Workshop in July, the Submission conference in August, and Submit 1 in September.
The submission drive was created in 2014 for WWS’s five-year anniversary and to honor Vida, Women in Literary Arts, and the Vida Count. It was the 2009 Vida Count that inspired the co-founding of Women Who Submit in 2011. While the event celebrates our history and the importance of gender equity in literary publishing, over the years, we’ve questioned if we were doing enough to help prepare our writers to send their work to the top journals of the nation and world.
The WWS Summer Series is our answer to this question. In July, 36 writers were given the opportunity to participate in month-long workshops with our faculty, Melissa Chadburn (CNF), Muriel Leung (Poetry), and Colette Sartor (Fiction). In August, over 150 writers registered for the Submission Conference, a one-day, online event that featured 18 writing professionals sharing their best tips and strategies (For recordings of the 2022 panels with closed captions visit the WWS Youtube page.). So then, SUBMIT 1 is not only an act of solidarity, but an act of faith in our writers and the writing process.
How to Participate:
1. Before September 10th, study THIS LIST of “Top Ranked Journals of 2022” with current open calls to find a good fit for your work. Links to guidelines are included. BE SURE TO READ AND FOLLOW THE GUIDELINES.
2. On September 10th, submit one of your most beloved pieces of writing to at least one tier one magazine from wherever you are in the world at any time of day.
3. Notify us on Twitter or IG. Be sure to tag us @womenwhosubmit, so we can celebrate you with lots of claps, cheers, and funny gifs.
4. Hang with us on IG Live at @WomenWhoSubmit from 7am to 10pm PACIFIC for a full day special guests, support, and resources. Here is where you can ask WWS members for tips on submitting, get encouragement, or receive LIVE claps for when you hit send.
SUBMIT 1 IG Live Schedule (all times are PACIFIC):
5. After submitting, fill out THIS FORM to help us track how many submissions were sent out, which will help us in our continued mission towards gender parity and wider representation of marginalized voices in literary publishing.
Submission Drive Origins:
After the first VIDA Count was published in 2009 illustrating the dearth of women’s voices in tier one publications, members of VIDA, Women in Literary Arts, began asking the editors of these journals why they thought the numbers were unbalanced. The most common answer was women don’t submit as often as men. In response, Women Who Submit and the monthly submission party was created in 2011 to support women and nonbinary writers in submitting their work for publication in order to raise the number of such voices coming across editors’ desks.
Our annual submission drive is a call to writers to submit their well-crafted and cared for work en masse to tier-one literary journals that historically have shown gender disparities in their publications. It is a call to action. Our first WWS submission drive was in September 2014 at Hermosillo Bar in Highland Park, CA.
In 2021, I was admitted to workshops and received fellowships with Tin House, Macondo, VONA, and the Authentic Voices program via the National Women’s Book Association, my poems and essays were accepted for publication in various venues, and I completed the first full draft of my creative nonfiction manuscript. I somehow did this while surviving a pandemic, working from home with no childcare, and being a single parent/teacher/everything to a fifth grader who was distance learning. And as we shift to a “new normal” this fall, I am still exhausted. There is still so much that is unsaid and unfelt. And yet, I remain hopeful that many of us will retain our virtual communities of care, including our writing communities. That is the way that I survived.
When the world panicked in March 2020, I had nowhere to go but online. I joined Women Who Submit and began attending the weekly Saturday meetings. At first, I doubted whether I truly belonged there because I had internalized the belief that I had to “prove” myself as a writer with external accomplishments, such as publications or awards. But I slowly learned to challenge my mindset. At WWS, rejection letters became “motivation letters” and we applauded each other for writing and for not writing, for trying and for not trying, for hitting “submit” or for not hitting submit. And then we did it all over again. I learned that everything matters, no matter how small, and it opened up something new in me. I had something to say. I filled multiple journals. I started scribbling poems on the backs of receipts again. I began to remember my childhood dream of being a published author. What if?
Asking “what if” led me to have a relationship with my writing, which is to say that I began to have more of a relationship with myself. The page is where I found the fullness of myself. And I claimed myself as a writer while the world was on fire. It felt both marvelous and terrifying. Did I really have the luxury or the audacity or the confidence to be a writer? Yes and yes and yes. I am a writer simply because I say I am.
And yet, no one ever does anything alone. Not even writers. Especially writers. When I drafted my first statements for fellowship applications, the words felt clunky and odd. I didn’t know what I was doing. I feared that I would never be selected for the fellowship. I didn’t even know what I wanted to say. But I asked for help anyway because support will always move us closer to our goals. And once I finally crafted one fellowship application that seemed strong, it was easier to tailor it and apply to more workshops and fellowships. At the same time, life happens, and I didn’t worry much if a deadline for a certain opportunity passed. I did what I could at the time and I am okay with it because there will always be more chances.
The first fellowship that I completed was the Authentic Voices program with the National Women’s Book Association (NWBA). Directed by the NWBA President, Natalie Obando, my cohort and I met over the course of four months with her and other guests, including a six-weel writing workshop with the wonderful writer Mireya Vela. As someone without an MFA, I am still learning about so much, and the fellowship taught me about the business of publishing, the art of writing and revising, querying, and other concrete tools that will help me as an emerging writer. It also felt almost surreal to be in a BIPOC-only space where we could understand each other without explaining or censoring ourselves or our writing. And while institutional racism and other forms of inequities remain embedded in traditional publishing, programs like Authentic Voices make me hopeful that more change is coming.
The next workshop was the Tin House summer workshop. At the final happy hour meeting, a fellow participant said that it felt like an entire semester compressed into one week, and I wholeheartedly agree. I was pleasantly surprised that most of the Tin House faculty were BIPOC and they were privileged in the programming for the talks and lectures. However, I did not anticipate how grueling the schedule would be. Each day had over 12 hours of live programming. While all the talks and lectures were recorded, I made arrangements with my job to attend Tin House and so I wanted to use all the time that I could that week. I had meetings with a literary agent and editor, both women of color, who were honest about institutional racism in the publishing industry but encouraging. For the workshop portion, I was both inspired and a bit intimidated to work with the incredible Jaquira Diaz. My cohort and I talked with her about ghosts, speculative nonfiction, and what it means to write into the complexities of our lives. More than anything, Jaquira taught me that anything is possible, including our dreams.
My final workshop was the Macondo writers workshop. While the Macondo schedule was not as time-intensive as Tin House, it also felt rigorous. I was delighted to work with Daisy Hernandez who challenged us to consider space and place in our writing. My cohort and I wrote about mothering, beds, science, childhood homes, hopefulness, and helplessness. I also read a short excerpt of a personal essay during the Macondo open mic which felt like an accomplishment to me because I have not participated in many readings. And yet, at Macondo, the new Macondistas were welcomed with open arms and I felt a sense of belonging. Of all my fellowships so far, Macondo feels the most sentimental to me because I worked with the Chicana feminist writer and Macondista, Carla Trujillo, as an undergraduate. And Macondo’s founder, Chicana writer Sandra Cisneros, was the first book that I ever read that was written by a Chicana. With Macondo, I felt more certain than ever that I am not simply a fan of writers, but I am a writer too.
Even a year ago, I never would have dreamed of having any of these experiences, but here I am. For my fellow emerging writers, don’t give up and remember these phrases.
No means next. I learned this phrase from my friend, Yvette Martinez-Vu, who uses this phrase to help motivate her students. When I submitted to a Tin House workshop for the first time, my application was declined. But when the next round opened up, I applied again and was accepted. No means next, not never. If a venue says no, apply again or somewhere else. Don’t stop.
Your pace is the right pace. What if you did not write today, this week, this month, this year? Or perhaps even many years? It is okay. Whether or not you put pen to paper, you are still a writer, no matter what. Release the guilt and stress. The page will always welcome you back when it’s the right time for you and only you. Your pace is yours.
Ask for help. This one still feels difficult for me even today because asking for help can sometimes mean exposing your vulnerabilities and insecurities. And yet, building relationships with others in the writing community means that there are always friendly folks who are willing to help you with feedback, support, or advice. It is okay to ask for help. In fact, it is necessary. And then the best part is that we can pay it forward by helping the ones coming up after us.
Don’t compare and despair. It is normal to feel jealous, doubtful, or insecure when we compare ourselves to other writers who seem to have all the dream publications, awards, fellowships, book deals, etc. Feel those feelings and then let them go. There’s more than enough for us all and what’s meant for you will not pass you up. And remember, no one else’s success will ever diminish the inherent value of your work.
Lay a brick a day. I saw this phrase in a meme and I immediately loved it. The little things do add up. Even if you write just one sentence a day, it matters.
The magic is in the mess. Marvel in the mess and then marvel some more because that’s where the magic happens. Stay with the discomfort and the doubts. The right words will come, I promise.
Remember, your writing is worthy. But, even more important than that, you yourself are worthy.
With love,
Cecilia Caballero
Cecilia Caballero is an Afro-Chicana single mother, poet, creative nonfiction writer, teaching artist, speaker, and educator based in Los Angeles. Cecilia is a founding member of the Chicana M(other)work collective and she is co-editor of the book The Chicana Motherwork Anthology: Porque Sin Madres No Hay Revolución (University of Arizona Press 2019). As a teaching artist, Cecilia designs and facilitates poetry workshops for BIPOC folks to cultivate more spaces of healing and social justice. She has been invited to give workshops and talks at numerous institutions and organizations such as UCLA, UC Berkeley, San Diego State University, East Los Angeles College, the University of Arizona, Parenting for Liberation, and more. Cecilia’s prose and poetry is published or forthcoming in Dryland Magazine, Star*Line Magazine, The Nasiona, Raising Mothers, The Acentos Review, Chicana/Latina Studies, Gathering: A Women Who Submit Anthology, and more. Find her on Twitter @la_sangre_llama
In years past, we’d called this annual event the “Submission Blitz,” reappropriating a destructive term in pursuit of gender parity and wider representation of marginalized voices in literary publishing. But as the last 20 years has brought unbearable violence punctuated by recent catastrophic times, we at WWS thought it was time for a new direction and outlook.
SUBMIT 1 is the one day out of the year WWS encourages women and nonbinary writers across the globe to send out at least one of their top pieces to one top tier journal as one community. This is no longer about bombarding editors’ desks and slush piles.
SUBMIT 1 is an act of solidarity and faith in our own voices and communities.
WWS hosts quarterly workshops and panels to help demystify the submission process and provide professional development to the writers. One of my personal favorites was “Strategies for Submitting to Contest” in 2016 with Tammy Delatorre, winner of the 2015 Slippery Elm Prose Prize and 2015 Peyton Prize.
On that day she advised us to send our best work, the pieces we loved, the ones we had to see in the world, our absolute favorites. This was an aha moment for me.
If I want an editor to love my work and champion it in their pages, I have to love it first. If I want to turn the heads of the readers at the top journals, the work I send should be top shelf quality.
This year, in our 8th installment of this literary submission drive, I invite you choose one piece of writing, your best and most beloved piece, and do the work of sending it to at least one top journal (Or five!). And when it’s rejected (because chances are it will be), send it out again, and then again, offering as many editors as possible the privilege of reading your work, until you finally find it the right home.
This isn’t an attack. This is an act of love.
How to Participate:
1. Before September 18th, study THIS LIST of “Top Ranked Journals of 2021” with current open calls to find a good fit for your work. Links to guidelines are included.
2. On September 18th, submit one of your best pieces of writing to at least one tier one magazine from where ever you are in the world at any time of day.
3. Notify us on Facebook, Twitter, or IG. Be sure to tag us @womenwhosubmit, so we can celebrate you with lots of claps, cheers, and funny gifs.
4. Hang with us on IG Live at @WomenWhoSubmit from 7am to midnight for a full day special guests, support, and resources. Here is where you can ask WWS members for tips on submitting, get encouragement, or receive LIVE claps for when you hit send.
5. After submitting, fill out THIS FORM to help us track how many submissions were sent out, which will help us in our continued mission towards gender parity and wider representation of marginalized voices in literary publishing.
Submission Drive Origins:
After the first VIDA Count was published in 2009 illustrating the dearth of women’s voices in tier one publications, members of VIDA, Women in Literary Arts, began asking the editors of these journals why they thought the numbers were unbalanced. The most common answer was women don’t submit as often as men. In response, Women Who Submit and the monthly submission party was created in 2011 to support women and nonbinary writers in submitting their work for publication in order to raise the number of such voices coming across editors’ desks.
Our annual submission drive is a call to writers to submit their well-crafted and cared for work en masse to tier-one literary journals that historically have shown gender disparities in their publications. It is a call to action. Our first WWS submission drive was in September 2014 at Hermosillo Bar in Highland Park, CA.
I’ve been a musician all my adult life. Songwriter, rhythm guitarist, and front woman, I have toured with metal bands and recorded blues, rock, hard rock, and progressive and symphonic metal projects. And I’ve spent a good portion of my career tripping on, stepping over, and climbing atop boxes.
You may ask, “why not just get rid of them?,” but how could I, when they aren’t mine, they just simply- ARE. The boxes of genre, look, age, and gender, that litter the already loaded minefield of rock and roll.
When I started out in the LA scene, I was already too old, and that caused me to focus twice as hard on my appearance, as a way to “apologize” for my decrepit late-20’s condition. I got unsolicited advice from the wrong people, music managers, usually older, white men, who all had opinions on what I “needed” to do to get my songs out: Lose weight, sing pop, be blond, sing country, look more “polished,” change my name, etc., etc.
After a few years of despair and anorexia, I realized that all of them had their own agendas, and that my best shot lay in being true to myself.
That meant writing and singing in multiple genres, as my muse dictated, cultivating a look that truly felt like me, even if it was polarizing, and understanding that I was most likely cutting myself off from mainstream commercial success and being at peace with that.
To some degree, that has been a lonely pursuit. I never neatly fit anywhere, so I feel a bit like an artistic pilgrim, joining one group of nomads after another on their journeys and sharing their campfires for a few evenings of stories and camaraderie, only to reach that place in the dust where our paths diverge and once again, waving farewell – see you on down the road.
Why have I chosen this?
I could have picked a box, climbed in, and nested in it, but instead, I navigated around the edges of each. Perhaps it’s because, subconsciously, I knew that my destination lie beyond them.
Along the way, I have learned so much. I’ve spent time in the singer-songwriter community, the blues world, the hard rock and metal scenes. I’ve dabbled in musical theater and burlesque. And I’ve absorbed so much beauty from the people who lived there, understood so much more about humanity through the sound of their songs and stories. And I’ve woven that knowledge into my webs, my lyrics and poems that strive to grasp what this life holds and what it means.
For me, it has taken years to become an artist with something genuinely important to say. That’s been my calling. You see, I believe everyone has something unique to offer, something that only they can contribute to the human tapestry. My part simply took time to ripen.
Cher tells a story about how a man approached her and said, “Don’t you think you’re too old to be running around onstage, singing rock and roll?” To which she replied, “I don’t know, ask Mick.”
This year, at 45 years old, I saw myself on the cover of a music and modeling magazine for the first time. Confident, bold, and colorful, the woman I saw was the artist that took 20 years to build, and THAT story, THAT reality, is what I bring to the world.
There is no “too late,” there is no ONE WAY to do anything. In fact, when each of us creates their own way, we show the next generation what is possible, we give them wings and dreams and hope… hope that we can all grab a box and clear that path. For there is much ground to cover.
VK Lynne is a writer and musician from Los Angeles. She is a 2016 recipient of the Jentel Foundation Artist Residency Program Award for writing. She penned the award-winning web series “Trading on 15,” and she has authored the period novella “Even Solomon,” along with two poetry volumes, “Crisis” and “Revelation,” which make up the audiobook “The Release and Reclamation of Victoria Kerygma.“
Her writing has been published in Image Curve, The Elephant Journal, GEM Magazine, and Guitar Girls Magazine.
