Ripped jeans and a sweatshirt,

tapping the cap of the pen,

she sits, stare and paper

vacant, and you wonder what’s

behind her eyes, what plans

or dreams, concentration or

boredom she channels into

the incessant flick of her

pen, purple, as it happens—and

upright now, in rapid, pressed

motion across the page with

ink flowing thick as she

leans over creation itself and

writes.

Dear Mr. Escritor,

It is, from a certain perspective, a privilege to observe the bloom of Amorphophallus titanium, and not only because of its size. Some specimens of the plant have grown an entire decade before they are capable of producing their massive bloom: once the flowers die, another decade might pass before they return. No bees attend to its pollination needs: rather, the flower attracts carrion beetles and flesh flies. According to Wikipedia, Amorphophallus titanium, (more commonly known as the corpse flower) draws these insects through a combination of chemicals: “dimethyl trisulfide (like limburger cheese), dimethyl disulfide (garlic), trimethylamine (rotting fish), isovaleric acid (sweaty socks), benzyl alcohol (sweet floral scent), phenol (like Chloraseptic), and indole (like feces).”

We will not be publishing your manuscript.

Sincerely,

The Editors

A wise friend once told me, “A writer is one who writes.” No one needs a special qualification, degree, or resumé to be a writer. Certainly, one does not need publication to be a writer. Not every needs to seek publication in a journal or should: writing can be its own reward, and there are many wonderful ways to share work with others (including Prose). Personally, though, I sought publication of short stories and poems in literary journals and have met with a small amount of success, and in this post, I will offer what advice I can for similarly-minded individuals—with a couple of significant disclaimers.

Disclaimer #1 – I have absolutely no idea how to make money at this. I’ve gotten four short stories and three poems published in various small journals, for which I have received a grand total of $20. Writing is not a career or even a side gig for me. If you want to know how to make a living with writing, read Finder’s post for this challenge – she’s done it. From what I understand, there are far more paid writers of advertising copy/website text/technical manuals than there are creative writers, and if you want to pay your bills with writing, that’s the path to follow. I’m also given to understand that the majority of creative writers out there don’t actually make a living with it: most have other jobs (notably teaching, which is most of the reason people seek creative writing MFAs). I’m a high school teacher who writes, rather than the other way around.

Disclaimer #2 – The "beginner" in the title of this post is me. I am seriously small potatoes. Odds are, dear reader, that you have never heard of a single journal where I’ve been published. In other words, I lack any real qualification to be writing this post, but perhaps the scraps of knowledge I’ve gleaned can get someone else started. (Thanks to Finder for nudging me to write this.) If anyone reading knows something that I don’t, please, please share in the comments. I will be grateful for the advice.

Alrighty – steps, as best as I know them.

1. Improve your writing. I started submitting pieces to journals when I thought I was ready; the reality was, I had more learning to do. How vivid are your settings, how clean is your dialogue, how condensed are your sentences? Sentences in published pieces are certainly not short, but they almost never contain extra words: each letter in a piece serves a purpose. This is a post of submission advice and not writing advice, so I’ll stop there, but growth in writing is a process that never really stops, and if you tell yourself “I’m there!” you’re probably cutting your journey short.

2. Wait to submit – you want to revise your piece again. Finishing a piece brings a rush of pride, but that is the wrong moment to dash off a submission to a journal. This should go without saying, but when you’re seeking to be viewed as a professional, “minor grammatical error” is an oxymoron. Never send out anything that could have so much as a single misplaced apostrophe. (Most common error on Prose, btw? it’s vs its.)

Good revision means more than proofreading. Revision requires time and perspective, and rushing your piece will only slow you down in the long run. Finding an editor—that is, someone whose skills you respect who is unafraid to slather red ink on your crap—is a godsend.

When I decided I was ready to submit to publications, I wrote a flash piece called “Inheritance” of which I was very proud: it was based on a story my father told me of my grandfather, but fictionalized in that the narrator-son felt confused about the tale’s meaning. It started at 750 words, and the ending was lackluster; an editor-friend helped me trim it to under 500 words, and a long-running dialogue with him helped move the ending closer to right, and I sent it off to some places. Several months and rejections later (a couple of them extremely helpful rejections – more on that later), I revisited, and I couldn’t believe I had overlooked its flaws. For one, the story was too sentimental. Here’s the original ending:

Tonight, a decade later, the brother I hadn’t seen for eight years dialed me with the one phone call the law gave him. I realized, when I clenched my teeth, what was passed to me, and what Grandpap fought in those flames.

I got my coat.

I kind of like that first line as a sentence, but as an ending to a story, it’s a forced a-ha moment: “And then the narrator discovered the meaning of brotherly love.” The Hallmark story has its place, but I was not submitting stories to Hallmark; I also did not want to write for Hallmark. My editor friend had tried to tell me of that risk – and he had indeed gotten me to improve the ending – but I was too close to the subject matter to see its sentimentalism until I had distance. The intervening months and writing growth revealed a second fatal flaw: it was still far too long. I edited “Inheritance” down to 300 words, less than half the original length.

3. Find where to submit your piece. There’s really two phases here: understanding where one discovers journals, and determining whether a particular journal might be receptive to your work.

Lists of journals: As far as the where, there’s a big ol’ ranked list here: http://www.erikakrousewriter.com/erika-krouses-ocd-ranking-of-483-literary-magazines-for-short-fictionThat list is geared toward short fiction, but many journals would also take poetry or creative non-fiction (CNF).

Here’s a place I check regularly where some journals advertise their calls for submissions: https://www.newpages.com/classifieds/calls-for-submissions

Most journals will expect you to submit using Submittable (www.submittable.com) – signing up for an account is free, and if you click on the “Discover” tab, you can see submission calls listed by end date.

Speaking of Submittable, you’ll see that most publications on it require a small fee ($3-4); that’s normal. I won’t say I’ve never paid a larger fee, but generally speaking, I don’t think it makes sense to pay more than the nominal $3-4, and regardless, they add up. (Note that earlier I said I had “received” $20, and not that I had “made” $20, because the latter would be a lie; I am very much in the red thanks to fees.) If you’re looking to avoid submission fees, it will restrict your submission possibilities, but it can be done: a lot of journals offer free reading periods, and some never charge (particularly those that operate through email alone and thus don’t have to pay a submission management platform). I would also urge you never to fall prey to “publishers” who send enthusiastic acceptance notices offering to sell you a copy of their “anthology” for the low low price of $40+. Legit print publications usually offer contributor copies even if there’s no other payment.

Picking journals: Sending your work blindly will likely waste your time: you need to do some scouting. Every single journal will advise you to read their past issues; as a practical matter, you probably don’t have time to read that much. I always look for the “About Us” or “Mission” tab on a homepage for starters. For my own part, I never send work to publications seeking “experimental” or “cutting edge” pieces, as what I write does not qualify; other publications specifically seek work from women, or teenagers, or people of color, or LGBTQ+ individuals, of which I am none. Some journals are genre-specific.

I generally do read a piece or so from the journal before submitting, attempting to judge whether my general style and approach are in keeping or at odds with what they publish.

There is absolutely nothing wrong with submitting a piece to multiple journals at the same time, and most journals explicitly state that they “accept simultaneous submissions.” (A handful don’t, and you should respect that.)

Another word of warning: the overwhelming majority of literary journals state that they want “unpublished work,” and pieces posted on social media or elsewhere on the web almost always count as published. A piece you have posted to Prose is therefore ineligible for most journals.

4. Format your piece. Follow the directions the publication gives. Whatever information they want, or don’t want, or font or spacing or lack of italics or pasted in the body of an email or RTF format or cover page or anything, just do it. You’re asking the editors to do you a solid by reading your work: respect their wishes. Almost every journal wants something slightly different in the formatting, which means the process of submitting will take far longer than you expect it will, but give them what they want.

In the absence of specific formatting guidelines, double-space prose using size 12 Times New Roman; include a header on every page but the first with name, title, page. Here’s the one I used: (Love – “Inheritance” – 2). For better and more precise guidance, click on “Standard Format” here: http://www.erikakrousewriter.com/other-author-tools-and-resources Poetry is often requested to be single-spaced. Many journals permit submission of 3-5 poems at a time. Again, your submission format should be whatever the hell the journal specifies, but here’s a general example of a submission of multiple poems: https://www.shunn.net/format/poetry/

5. Write your cover letter. Cover letters for literary journals should not be long or fancy. As always, follow all directions. Be polite and direct: they usually need your name, the genre of your submission, the length, and a third-person bio. If the piece is a simultaneous submission, tell them and assure them you’ll notify them of acceptance elsewhere. On the rare occasion when I’ve submitted something previously posted on Prose because the journal did not rule such pieces out, I’ve identified the writing as having “previously appeared on my personal page at Prose, a site for aspiring authors to share their work with one another.”

If you know a specific editor or two who will be reading your work, address the letter to them rather than the general “Dear Editors.” When I submitted “Inheritance” to The Blue Mountain Review, it fell under their microfiction category by word count. I found the name of the microfiction editor, then googled him to ensure I could have his proper title or pronoun – it turned out that he taught at a university. Here’s the full text of my cover letter, which I pasted into the proper field in Submittable:

Dear Professor _____:

Thank you for taking the time to read my microfiction “Inheritance,” which is 300 words long. A childhood memory my father described inspired the story. It is a simultaneous submission; I will notify you immediately if the story is accepted elsewhere.

Here is my bio:

Ryan F. Love teaches high school English in the Finger Lakes region of upstate New York, where he earned a degree from Alfred University. He lives with his wife in a Victorian with pairs of daughters, beagles, and guinea pigs. His work has been published in Blue Lake Review, The Copperfield Review, Sleet Magazine, and Blueline.

Thank you very much. I look forward to hearing from you.

Regards,

Ryan F. Love

6. Bring on the rejections – and read them. If you’re seeking publication, you will receive rejections. You will receive so, so many rejections. It’s normal. Rejections mean you're trying. I read a blog post by a writer whose stuff has appeared in journals I only dream about, and she said her acceptance rate was about five percent. I make a ritual of it: before I open any email from a journal, I say the word “rejection.” A rejection could mean that your piece wasn’t really ready, but it could also mean that they published something else similar recently, or that it didn’t quite suit the journal’s style, or it just couldn’t quite fit in the issue. Exact words from a rejection email I received: “Though I won't be taking this piece, it is lovely.” I deeply appreciated the encouragement.

There’s no need to keep feverishly refresh your email or Submittable page to see if you’ve heard anything yet. The Submission Grinder (https://thegrinder.diabolicalplots.com/) gives quality estimates of response times (more accurate than the journals give themselves, in my experience). If you see a light blue “In Progress” flag in Submittable, it means precisely diddly squat: you still might not hear anything for six months. You might also get a rejection (or acceptance!) without the flag ever having moved from “Received” to the pointless “In Progress.”

Keep track of your submissions and rejections: Submittable will do this for you on a basic level, but you should note when you get some kind of tiered rejection that’s more encouraging. If you’re told to send more work, you should try to do so and mention the previous interaction in your cover letter. (If you’re not sure whether you got a standard rejection or a higher tier, check out the journal’s samples on the Rejection Wiki - https://www.rejectionwiki.com/).

A rejection with personal note from an editor is a high compliment. It can also be extremely helpful. An editor rejecting one story of mine wrote, “We love the humor and the sense of place, but flash fiction has to start quickly. This one just didn’t grab us.” I didn’t yet realize how much it meant to get a personal note, and that one felt discouraging when I read it; it was actually exactly what I needed to hear. I was taking too long to get my flash fiction started. The criticism rang around in my head a few months before I processed it, and then that advice prompted me to take an axe to the beginning of “Inheritance.” The finished result was a vast improvement: it still got rejected twice, but that 300-word version is the one that got published. Finished version here, if you want to read it: https://issuu.com/collectivemedia/docs/bluemountainreviewjune2021/286

7. Keep writing. This is the part where I say things about improvement, practice makes progress, etc., but writing is inherently valuable in and of itself, whether a journal accepts it or not. Don’t let the quest for publication, or the inevitable rejections, stop you.

I first submitted to a journal way back in 2014. The essay was the best thing I had written up to that point. I made a lot of mistakes with the piece itself and with my submission process, but the dumbest mistake of all is easy to identify now: when that essay got four rejections, I stopped writing essays, stories or poems for five years.

Don’t do that.

When I’m working away at a draft of something that I’ve already revised three times, I quite frequently pull up a Prose challenge and post. There’s joy in writing; there’s joy in sharing writing; there’s joy in a writing community. If you choose to pursue publication in a literary journal, I wish you all the best, but publication is not purpose. You have reasons why you write; remember them, always, and keep at it.

A pendant streetlight hung in fog

above the melting snow.

It lit bare treetops in the dark

that shadowed ground below.

As midnight party blared within,

I stood on porch without.

Some distant fireworks cracked and popped;

nearby I heard some shouts.

There’s Pete and Miley in Miami,

Ryan, Big Boi in New York.

A flashing ball, shrimp cocktails, all

the flying bubbly corks.

But I most cherish fog alone,

its simple, living peace

a fitting closing for this year:

a quiet prayer – release.

I wrote my first historical fiction when I was eleven, about 15 handwritten pages that each contained a chapter with a different narrator. All lived around Johnstown, Pennsylvania in 1889, and each witnessed an event attached to the flood that destroyed the town. The sixth-grade teacher who oversaw the writing club was deeply impressed. That story, now lost, represents my first writing. I choose it for my origin because I had never before put so much effort into a piece of writing, or experimented with a narrative in any way, or put written anything I would later remember. Since my first novel (in-progress) is also historical fiction, recollecting my Johnstown flood story also feels like drawing a circle.

It is a circle with several missing pieces and drawn over many years, though. In high school I wrote some poetry and in early college some short stories (hopefully unremembered by anyone, as they were awful), and then I did not write anything for a long time. I never took a creative writing class. Five or six years after graduation I picked at an abortive attempt at a novel for a few months; a couple years after that I labored on an essay that I submitted to a few journals, but I understood too little about both writing and publication to succeed. In the years after that piece, I dabbled with ten-minute plays.

In all these phases, I hoped for an editor to accept my work for publication. I have never expected to make a living with writing – I am a teacher, and happily so – but I wanted validation and an audience. Those desires, in hindsight, missed the point of writing because I valued the goal above the process.

Writing has provided me with a place of escape and control. I resumed writing in October 2019, and when March and the pandemic struck, writing became vital in ways I had not expected. It provided me with an ongoing project when so many aspects of life had ceased, and with time eddying endlessly and case counts swallowing attention and energy, writing presented a solvable puzzle. A sentence must be rearranged, a paragraph shortened; a bit of description must slow the pacing of the dialogue, or a word switched to further shade the phrase’s meaning. A story is unlocked one absorbing step at a time, and entering into this work with all my mind brings a clarity and a freshness that I treasure.

My writing goals have changed. I received the publication I sought: I’ll confess that valuing the process over the prize became a great deal easier with that particular primate wrested from my back. I have stories and poems still looking for homes and currently under review by editors; I hope they find the light of day soon, but beyond my willingness to prep more submissions, that is out of my control. I have 68,000 words of a projected 90,000 words of that novel written, and I want to finish. I anticipate writing the final sentences of The Ghosts on the Glass early in the summer of 2022. I’ll spend the remainder of the summer editing and sending out my first queries to agents. I do not know what will happen, but I will take my shot. Perhaps stars will align and a press will publish my novel; perhaps my search will end a couple years and dozens of rejections later, and I will publish myself. Regardless, the experience has been a rewarding one, and I will have received no less pride and no fewer moments of calm and clearness from my writing.

A man from the East Coast goes to visit his estranged wife and their children for Christmas. She moved out to California for a job opportunity and he refused to leave the city that he called home. She’s had flirtations with another man, a corporate hotshot, but she still has a family photo with her husband on his desk, and the kids love him to pieces. When he arrives at the airport, he has a huge stuffed bear to give the children, whom he has missed dearly. He plans to meet up with his wife at her high-powered corporate office for a talk, then go see the children with her, then leave to stay elsewhere. That was the plan, at least. Moved by the spirit of Christmas and her still-burning torch for their marriage, however, she invites him to stay at the house with her and the kids. She admits she missed him.

It can’t be too easy for him though, so he observes the West Coast hotshot flirting with her wife. To make things more complicated, the husband realizes she started using her maiden name again. They fight about that, and they rehash past fights, thus reminding them (and the viewers) why their marriage fell apart all those months ago.

But then comes a crisis. I’m still working on the details of what crisis arises, but the corporate hotshot guy she’d been flirting with turns out to be a total flake. The rock-solid man she really loved all along comes through and saves the day; they are fully reunited with a rekindled love. They kiss and drive away to go see their children together and have a wonderful family Christmas while “Let It Snow” plays and the credits and their car tires roll.

You know, a terrorist attack might just be the perfect crisis. I’m thinking, say, Alan Rickman as the terrorist leader? He could be a German. Oh, and Bruce Willis for the hero. Guy’s got a heart of gold.

You know what inspires shame? A random college playlist of songs illegally downloaded from Kazaa (remember P2P, old folks)? And I do not mean because of the intellectual property theft, because fuck the man - I feel younger just saying that, seeing as I sort of am the man now - but because Nickelback just started playing. For my penance, I am writing till the song ends.

The thing is, "Leader of Man," "Breathe," and "How You Remind Me" are not inherently terrible songs; it's just that once the latter was released, they never wrote another song again that wasn't a clone. I fondly remember paying $10 to see them in concert at the college across the street.

There ain't no shame like nostalgia shame.

And now onto "Popular" by Nada Surf... and my pile of grading...

I made a fresh loaf in our bread machine Sunday night. My wife and I were closing out our long Thanksgiving weekend with some good cheese and red wine, and the warm bread tasted very pleasant. I had not used the bread machine in a while, but it got a great deal of use in the spring of 2020, when every trip to the sparsely-stocked grocery store felt like running a gauntlet. I thought back to those times as I measured the two-and-a-half teaspoons of yeast; the memories invested our clink of glasses an hour later with extra meaning. For my family, as of December 1, the pressing phase of the pandemic is over.

I do not mean that COVID-19 is gone, or that all risk has disappeared: Delta and Omicron are out there, and “endemic” means we will all get it at some point. Certainly, the pandemic continues to affect numerous facets of life and will for some time. We still wear masks. All the same, Wednesday afternoon marked an end of sorts because my daughters received their second doses of the Pfizer vaccine, and I feel that I have done my duty. I worked to avoid spreading COVID-19 until those for whom I was responsible could be vaccinated; I succeeded.

I felt responsible for my parents and my wife’s parents, all of whom are in good health, but who are old enough to be at risk: they are all fully vaccinated and have received their boosters. I am responsible for my wife and children, all the more so because as a high school teacher, I am the most exposed member of the family: we are all vaccinated, and my wife and I have received our boosters. I am responsible for the well-being of my students: they are not all vaccinated (I don’t know how many are, and it’s not my business), but they all could be if they and their families choose for them to be.

Emotionally, I struggled the most with safeguarding my students. When our school reopened in September 2020—on a hybrid remote and in-person schedule so as to have half as many students in the building—I could not escape the feeling of impending doom. My colleagues and I guessed at how long we could stay open before cases shut us down: one said two weeks, a lot said a month. I guessed two months, reasoning that the first long weekend would lead to travel and positives brought home to our rural county. Universally, we expected the closure to come any day, and I lived in fear of it. I tried to avoid contact with others because I feared that I would be the one who would shut down the school. If I got COVID-19, how many staff members might I force into quarantine? Roughly sixty students would have had to quarantine: sixty students who could not attend school or work jobs, or watch younger siblings so their parents could work. Sixty students to whom I could pass the virus, who would (in all likelihood) be fine themselves, but who might live with an immune-compromised parent or a grandparent, whom I might kill.

I remember the moment when it became clear that I was not alright, because I posted to Prose about it. I have a beautiful view outside my classroom window: the athletic field in front of a hillside with many trees, which in autumn blaze their colors in the morning sun. The news had reported several new positives in the county that day, and I tried to see the hillside, tried to feel and love it. I wrote this haiku:

Cases are spiking here.

September leaves, fence,

hillside in the morning sun,

sky: you must hold this.

Steuben County, New York - 9/25/2020

Beautiful things are talismans. The moments of peace and love they inspire can stave away anxiety and fear. Encounters with beauty keep me whole, and when I lose my capability for that feeling, I’m in a rough place. When my wife miscarried years ago, I wrote in a journal, “I feel no joy in the trees.” That feeling of disconnection passed, though; the COVID anxiety did not.

I sought counseling. I never had before, but I needed help dealing with that weight. It helped.

My wife and I missed our regular visits with our parents, none of whom live in our state. I know people who would not see their older parents at all until vaccinations, and on the other hand, people who went on visiting throughout the pandemic as though all were normal: neither pole was an option for us. I wanted to be cautious and avoid endangering the older people in my life, but going many months on end without seeing a loved one is its own kind of risk. Days are finite.

We decided on a middle ground. Throughout 2020, we saw our parents only under tightly controlled circumstances: we would hole up for ten days without going anywhere, even the grocery store, and if we were symptom-free after that, we would be together like in the old days. We would see one another’s faces mask-free. We would hug. Once school began, we did not visit until January: the winter break permitted nine days out of the classroom before a visit, which we deemed close enough. This was not a perfectly safe approach, of course: there is no perfectly safe approach. It was the risk we all calculated we were willing to take, and it worked out alright.

A lot worked out alright. I did not shut down the school. No one did: there were quarantines a-plenty, but we made it through the year, open every day except two (while admin got the hang of contact tracing). It was not a normal year, but there was school, and it was good. I was exposed to COVID-positive students four times that year, and I had to quarantine and isolate from my family twice, but through a combination of good fortune and safety protocols, I never contracted and spread COVID.

I got my first Moderna dose in January 2021, the second four weeks later. (If I hadn’t, Public Health would have instructed me to isolate from my family after those last two exposures, too.) By the time spring break rolled around, my wife and our parents were fully vaccinated as well. We visited at will again, and thus regained our biggest portion of normal.

In the summer, we flew to visit friends in Colorado. My wife and I went to a Denver jazz club with them; it was the first live performance of anything I had attended in sixteen months, and I wept. My daughters got their first PCR tests and used the negative results to check in at sleepaway Girl Scout Camp for a week. They acted in Charlotte’s Web with our community theatre group. When September came, they returned to school every day, and they began attending extracurricular classes for ceramics and tap dancing; I’ve passed the time during their lessons writing at a typically-uncrowded brew pub. Masked, and with every audience member over 12 providing proof of vaccination, we have attended tours of Broadway musicals that were a very long time coming. All of which is to say, we have been happily living our nearly-normal lives because life had to resume. And now, my kids are vaccinated.

The Northeast winter and holidays mean a spike is coming, and the vaccines are not full-proof. Breakthrough cases have been widely reported for months. But as has also been reported, up-to-date vaccines have provided meaningful protection against the worst outcomes. Personally, I have known vaccinated individuals who contracted COVID who merely had unpleasant colds, and other vaccinated individuals who felt pretty sick. For that matter, I’ve known unvaccinated individuals for whom COVID-19 meant nothing more than an unpleasant cold. But I’ve also known an unvaccinated woman in her thirties with previous lung problems who lacked the breath to speak on the phone and spent a week unconscious on a ventilator. I’ve known an unvaccinated 50-year-old runner of marathons who for more than a week stayed in bed until 1:00 pm because he lacked the breath to walk to his kitchen. I’ve been acquainted with three people who died from COVID-19: two who died before anyone could get vaccines, and one who died having chosen not to get one.

I also know someone who contracted COVID in October 2020 who still cannot taste food. That is what I feared as much as anything: long haul COVID. Lacking the ability to taste that celebratory wine, cheese, and bread with my wife is unfathomable to me. Putting aside all other negative outcomes possible from the disease—you know, like death—the potential impact on taste alone would have been enough for me to get the vaccine. Statistically, my children were always highly unlikely to die from COVID, and I never really feared it. But I did not want to disable them. Their vaccinations are not guarantees that they’ll avoid long haul COVID, but it’s meaningful protection that they can have, and it gives us a more confident freedom than we had before.

This is not to say that everything is the way it was. Most school and community activities have returned, but not all. I’ve been teaching in a mask to masked high school students all year; my honest take is that I’m indifferent to the cloth on our faces. Students are working in groups more often this year. I no longer feel crushing personal responsibility for their wellbeing, or the wellbeing of the people in their lives. Their health is in their own hands and out of mine—to my immense relief. I protected them as best I could and restricted my own life while they had no option aside from trusting me. Now, the option is theirs and their families’, and they will calculate the odds for themselves just as we calculated ours.

The most significant COVID impact on my family at present is who we can see. Some of our closest friends are caregivers for cancer patients, and they’ve determined they cannot take the risk of spending time with others. In their places, I would make the same choice. When we see them again, if we see them again, it will be outdoors when the weather turns warm in April. We try to keep in touch. I hope they are well.

For now, we have plans again. A long weekend trip, a performance of Hadestown in New York, a vacation to Yellowstone with my parents. Group activities. Hugging those we love and breaking bread. Giving thanks.

...and also, I've got some very important procrastinating to do, so hi everybody. The "R" in my name is for "Ryan," and I've been teaching high school English in the part of New York with cows for 16+ years. I joined Prose in October 2019 because I hadn't written anything for a very long time but wanted to. The community here kept me inspired and motivated so that I actually stuck with writing and worked on it for real. Through all the practice and experimentation, I improved.

The breakthrough came when I wrote a story titled "Rideshare": it was the best thing I'd written to that point, and when readers told me so, I moved from the maybe-someday phase of writing to the going-for-it phase of writing. Eighteen months later, I have a handful of small-outlet publications under my belt and 60,000 words of a novel. I'm a teacher--it's who I am and I love it--but regardless of how far my writing goes or doesn't, it no longer feels silly to think of myself as a writer. As a friend once told me, "A writer is one who writes," nothing more, nothing less, and I knew that, but Prose helped me to feel that. It's home.

(Longtime readers might remember "Rideshare," but if anyone is curious to read it, I'm happy to say the story got picked up by Sleet Magazine: https://www.sleetmagazine.com/selected/love_v13n2.html)

Cheers, everyone. Glad to be Prosing with you.