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Clarinda Harriss, Director
BrickHouse Books
306 Suffolk Rd.
Baltimore, MD 21218
Dear Interns,
Welcome to BrickHouse Books, Inc. We have put together this packet to assist you in
completing your internship successfully. This packet includes the following information:
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Information about BrickHouse Books, Inc.
Samples manuscript comments for BrickHouse Books, Inc.
Template rejection letter for BrickHouse Books, Inc.
BrickHouse Books, Inc. letterhead
Important contact info
This packet should guide you through your internship as it compiles everything you will
need in one convenient package. However, if you should have any further questions, please
contact Ms. Clarinda Harriss charriss@towson.edu.
Sincerely,
Shelby Hillers, BhB Online Editor
Clarinda Harriss, Director
BrickHouse Books, Inc.
BrickHouse Books, Inc
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Ms. Harriss, the director for BhB, doesn’t provide her interns with a syllabus. The
internship is a job, not a course per se, and carries with it the title “Assistant Editor.”
Ms. Harriss, a Professor Emerita of English, no longer teaches full-time at Towson
University; however, she continues to offer internships to a select few Towson students who
receive course credit for their work, and BhB also accepts interns who are not Towson
University students. Frequently, students at other institutions are able to negotiate course credit
from those institutions. Any questions which you have concerning academic issues of the
internship should be directed to your internship coordinator. And remember, you do not need to
be a currently-enrolled student at any institution in order to serve as a BhB intern.
Since BhB interns don’t have a syllabus to refer to which is specific to BhB work, this
packet includes two essential things:
 Clarinda Harriss’s email- charriss@towson.edu. She checks her e-mail daily and is more
than happy to respond to any questions interns may have that pertain to BhB.
 Below, a description of BhB expectations and examples of completed work to guide your
own work.
BhB is Maryland’s oldest continuously operating small press, founded in 1970. Because
BhB is a small independent publishing company, and funding is limited, most of the submitted
manuscripts (several hundred annually, from all over the world) cannot be published. However,
BhB offers the submitting authors something else that is equally valuable, if not even more: a
thorough edit along with detailed comments offering constructive criticism. Along with Ms.
Harris (the director and editor-in-chief) and several associate editors, this heavy responsibility,
which keeps the company up and running, is borne by BhB interns, whose official title is
“assistant editor.” Authors continue to submit to BhB despite the knowledge that few are actually
selected for publication each year because the comments returned to them offer them the time
and attention to their work from which they can benefit.
Interns at BhB should expect to edit approximately 5 manuscripts throughout the semester. In
addition to editing the manuscripts, interns are responsible for writing helpful comments, which
could improve the manuscript and, more importantly, could help the author become a better
writer. Because criticism of any kind can often invite tension, Ms. Harriss prefers that interns
write their comments referring to the author in the third person and include these comments in a
letter addressed to her. Examples of comments in this format are included in this packet. Interns
should model their comments accordingly. However, the way in which interns choose to
organize their suggestions is mainly up to them.
It is permissible to make notes on the manuscript itself, whether for use in writing the
comments or in order to provide direct feedback to the author. (See below; the authors will not
get their hard copy back unless they’ve provided a large SASE.) Interns with knowledge of a
computer editing program may, if they choose, edit on-screen any manuscripts which which have
been submitted electronically. Such line-editing is in addition to, not in lieu of, their general
comments (see appended samples).
Interns should e-mail their comments to Ms. Harriss before sending them to the authors,
which will allow her to make edits and suggestions. Ms. Harriss must approve your comments
before you can send them back to the author. It is imperative that your grammar, usage,
punctuation, and knowledge of standard business writing be impeccable.
If Ms. Harriss gives her interns a hard copy of a manuscript, there will be a SASE (Self
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Addressed Stamped Envelope) included with the manuscript. If the envelope is standard
business sized, then the author wants only the comments returned to him/her, not the whole ms.
If the envelope included is larger, then they want their original manuscript (ms. for short) in
addition to the comments. Upon consultation with Ms. Harris, the returned material may
include a personalized version of a standard BhB rejection letter (provided in this packet).
Interns should be sure to add the author’s name in the greeting before sending it, and never send
it without consultation with Ms. Harriss.
In addition to these responsibilities, interns should check their e-mail often for e-mails from
Ms. Harriss. Sometimes, she needs help with administrative tasks (like label making) or
coverage at literary events. These tasks count toward the required 108 hours. While these emails are usually mass e-mails sent to many interns, it is important that interns respond even if
they cannot take on the task. Keeping Ms. Harriss updated shows that you are receiving her
messages and that you are serious about your internship.
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INTERNS’ COMMENTS
EXAMPLE #1
March 17, 2012
Clarinda Harriss, Director
BrickHouse Books
306 Suffolk Road
Baltimore, MD 21218
Clarinda,
Thank you for the opportunity to review the manuscript The City by John Smith. The author
creates a sense of the absurdity which comes with existence. Smith has a sardonic voice to his
poetry, with which he narrates his observations of the human condition. The City discusses the
tangible here and now, and explores humankind’s faith in the divine, despite our constant
suffering. Smith bridges what we are given with what we yearn for in this series of free verse
poems. While these themes were apparent in his writing, some adjustments to the style and
structure of the poetry could greatly improve the overall delivery of the messages underlying the
poems.
After reviewing this manuscript several times, I’ve collected my thoughts, concerns, and editing
suggestions in the following areas:
Punctuation:
The freedom poetry affords includes a looseness of punctuation usage. While many poets
make use of this liberty, they do so with taking a risk. Smith’s poetry, overall, may be too
nontraditional in terms of punctuation. As a result, the substance, detail, and meaning sometimes
get lost in wordy fragments or run-on sentences.
Now, I assumed that Smith chose to write with loosely structured punctuation to
contribute to his poems’ ranting voice. I gathered a frustrated, unsatisfied, sarcastic tone in many
of his poems. However, I honestly feel that more punctuation and complete sentences would
make his poetry stronger. Smith has many amazingly profound ideas and wonderfully detailed
imagery. But I found myself getting lost in a sea of commas and incomplete clauses.
Two poems that I noted specifically are “The Rambler” (24 lines, 2 periods) and
“Beginnings” (24 lines, 1 period). These are relatively short poems compared to most in this
collection. As hard as it was to comprehend what was being said in these two poems, it was
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even more difficult understanding what was being said in the longer poems. I will say, that this
lack of period usage might work better in spoken word poetry with a rehearsed delivery style.
For print, however, it isn’t ideal.
Vocabulary:
I’ve mentioned several times that Smith has a unique voice. He also has a brilliant mind.
Smith’s vocabulary is extremely sophisticated. I believe that I have a decent vocabulary, and I
am usually able to understand unfamiliar words as a result of their context. Whenever I sat down
with Smith’s manuscript, I brought along my dictionary. The beauty about poetry is that one can
express profound, complex ideas in simple, concise language. I urge Smith might consider
cutting out superfluous words and using simpler language. As of now, the vocabulary feels
forced, as if a thesaurus is writing the poetry, rather than the intelligent Smith.
References and Metaphors:
In addition to my dictionary, I had to bring with me Wikipedia. I admire Smith’s worldly
knowledge on a vast variety of subjects, and I learned a lot from his poetry because I found
myself looking up two to five references per poem. Some of the references I had to look up were
Biblical or classical Greco-Roman or Egyptian. There were also many culturally Asian
references that applied to food and religious figures. Not all references took away from the
poems, though. I particularly enjoyed reading “The Plan,” in which specific pop-cultural icons
contributed to the imagery in this poem because they are so common to readers. They are easily
identified and carry stronger meaning than other references due to wide association.
Often I admire poets’ use of cultural, historical, Biblical (etc.) references. However,
Smith tended to overuse these references, which had a couple of repercussions. First, it took me
entirely too long to get through the poem because I had to first look up, then make sense of the
reference and apply it to the metaphor in the poem. Second, I know I felt incompetent reading
along and not being able to understand what Smith was saying, so I can only imagine how
readers would feel if the collection were to be published. If Smith is unwilling to trim down the
(to me) inordinate number of allusions, I would suggest considering footnotes or even endnotes
to save the readers time as well as make the substance of the poetry more available to them.
Concerning Smith’s metaphors, I have only one criticism. Some of his poems, “Night
Angels” and “Mea Culpa” to name a couple, seem depend too heavily on a single extended
metaphor. I found it difficult to grasp what Smith was saying in these poems.
Imagery:
Smith’s imagery is detailed, wild, and often grotesque, which drew me in immediately.
“Sidewalk Religion” used imagery to mock religious fanatical practices and attitudes. In “Vow,”
Smith describes an injured toe in such a way it made me cringe; I could almost feel the pain.
Similarly, he describes an injured extremity in “Papered Over.” While these images are detailed
and hold much potential, Smith needs to home in on their purpose. Despite the imagery being
detailed, the images are so absurd I know not whether to take them literally or figuratively.
Smith’s images are concrete and specific, but more within themselves than with the themes
overall of his poems.
I attempted to target my responses toward Smith’s overall style. He seems to be discovering his
true signature voice. While I didn’t address every poem in his manuscript, I have made notes in
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the margins of each poem. I would be happy to further elaborate and discuss my thoughts with
the poet if he wishes. Thank you, again, for the opportunity.
Sincerely,
Mallory Richter
Assistant Editor
BrickHouse Books
COMMENTS EXAMPLE #2
April 25, 2012
Clarinda Harriss, Director
BrickHouse Books
306 Suffolk Road
Baltimore, MD 21218
Clarinda,
Thank you, for the opportunity to review the manuscript I Wanna Be Like Mike, by Tom Jones.
The novella immediately threw me into the middle of the protagonist’s psyche. Jones took me
along in the pockets of Richard’s mind, on his quest to find clarity, and to heed the calling of his
destiny. He maps out Richard’s geographic progress well enough, but the true meat of the story
happens within Richard’s head, and in what he chooses to share. Jones’s true accomplishment
was his ability to create a unique, intriguing, likable, character. However, I would suggest a few
minor edits to the story’s structure, which could greatly improve and clarify certain ambiguous
qualities in the plotline.
After reviewing this manuscript several times, I’ve collected my thoughts, concerns, and editing
suggestions below:
Richard is a fantastic unreliable narrator, which makes seeing the story from his
perspective humorous and wonderfully different. Jones did an amazing job creating multiple
levels of Richard’s psyche and he was consistent in showing Richard’s inconsistencies,
instability, and warped views of his reality. Richard’s personality was multifaceted, which made
him seem real, despite the wild, ridiculous comments he’d make and thoughts he would share.
Jones invented a brilliantly insane protagonist that was still likable, and even relatable. He
includes instances where Richard contradicts himself, talks about things he doesn’t understand,
as well as moments where he talks in circles. The only thing I felt Richard seemed certain of
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was his love for Susan, which was a nice touch to the story. Jones also mentions several times
that Richard has a mental health condition for which he has stopped taking his medications.
While I would not change a thing about Richard’s character, I would make several changes to
other clarifying elements of the story, so that the reader can balance and see some chronological,
formatted structure, which can juxtapose as well as complement the confusion and chaos Richard
brings to the story.
 It was clear that Richard didn’t want to e-mail or call Susan, and he addresses her
throughout his thoughts and writing in the story. What was unclear to me was
whether or not Richard was actually sending Susan the letters. I don’t recall ever
reading a passage where Richard drops the letters into a mailbox, and aside from
the e-mails she sent to him, I don’t remember her ever replying to his letters. Did
Richard intend to hold on to the letters as one would hold on to a journal and give
them to Susan to read when he returned? It is imperative that Jones clarify
Richard’s intentions and his reason for writing. Because Susan seemed to be an
integral topic in Richard’s mind, and his thoughts dictate the storyline, I suggest
that Jones find some way to clarify the purpose of Richard’s writing and the
response, if any, he gets from Susan.
 There are several areas throughout the novella where Richard includes a partial
date, which excludes the year. I found this to be mildly confusing especially
when he reverts back to Peter’s journal entries and more family history with Jack.
If Jones added the year and/or perhaps used a different font for those entries, that
would be helpful. Similarly, I would suggest that Jones distinguish Richard’s
dialogue and inner thoughts by using quotes for spoken dialogue and italics for
his inner thoughts.
 There are several areas in the manuscript where Jones uses a # to express some
sort of break in the page or a break in the story. I was unsure of what exactly that
symbol represented in terms of where the letters end and begin or where his own
thoughts end and begin. I would suggest Jones replace those symbols with dates
for each new letter.
 Because Richard is such a unique, unstable character, sometimes when his
thoughts skip around or when he goes on tangents, it feels like the tenses switch.
So in addition to the lack of dates and times, and the uncertainty of what parts of
the novella are letters and which parts, if any are straight narrative are made even
more ambiguous by the slight shift in tenses. I feel that the story would be a lot
more comprehensible if Jones replaces language that includes would, could, had,
might etc. because it is unclear how far into the past or future Richard is
projecting or if he is speaking hypothetically.
 There are two characters named Mike in the novella. Dr. Mike Joyce, who plays
a small part in the beginning of the work, and Grandpa Mike, the character to
whom I believe the title refers. I would suggest Jones either change the name of
the Dr. or delete the character altogether because he doesn’t seem too imperative
to the story as a whole. However, if he is significant to the title, Jones may want
to make him play a part that seems as influential as the grandfather’s.
 The title I Wanna Be Like Mike, poses another issue of clarity for me. Richard
elaborated, ranted and raved for pages about how he reveres and idolizes Steven
Murphy and comments similarly about Jack Johnson. However, he seemed to
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have little more than contempt for his grandfather. Why then, does the novella’s
title suggest Richard wanted to be like Mike? I assumed based on Richard’s weak
credibility and damaged mental state that he was more like Mike than he wanted
to admit. If anything, I thought that Mike and Richard were similar, but that
Richard wouldn’t want to be anything like his grandfather. Above, I mentioned
that there is a second Mike in the story. Perhaps, Dr. Mike Joyce is the Mike that
Richard idolizes. If this is the case, Dr. Joyce risks the chance of being forgotten,
as he is only mentioned briefly in the novella. I, personally, almost forgot about
him, and only remembered because we consequently share the same last name. If
Dr. Mike Joyce is a character tied to the title, Jones might want to include him in
other places throughout the text. I would suggest Jones include a direct, specific
reference to the title that stands apart from the rest of Richard’s thoughts to clarify
the profound meaning behind that wonderful title.
Overall, I thought Jones’s novella was well written, including solid grammar and
punctuation. Jones is amazingly detail-oriented when it comes to his imagery. Jones is an
extremely talented writer and I truly enjoyed his novella.
While Jones’s I Wanna Be Like Mike is saturated with comment-worthy material, I chose
to discuss the elements that I thought would be most beneficial to the author during his editing
process. I have written edits and comments within the text and in the margins of the manuscript.
Please let me know if the author has any questions or concerns about his manuscript. I would be
more than happy to discuss the manuscript with him further if he wishes. Thank you again, for
the opportunity.
Sincerely,
Jen Joyce
Assistant Editor
BrickHouse Books
COMMENTS EXAMPLE #3
January 24, 2012
Clarinda Harriss, Director
BrickHouse Books
306 Suffolk Road
Baltimore, MD 21218
Clarinda,
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Thank you for the chance to review the manuscript The Lyricist by Geraldine Moore. The
author has a general theme of political unrest or human suffering running through the poems
and an interesting organizational structure, but the work could use some pruning and a
thorough evaluation of its strategies to reach its full potential. After a thorough reading, I’ve
summarized my thoughts and editing suggestions into the following key points:
1. The organizational structure of the work is intriguing. As indicated by the table of
contents, the work is split into twelve sections, ten of them using musical vocabulary to
indicate the nature of the poems in each section. However, it is often difficult to draw a
correlation between the poems and their section titles due to issues in the poems
themselves. For instance, when beginning the third section, I was expecting poems to
reflect thoughtfulness or pensiveness but was unsure how pieces like “Coda” or
“Assault” fit that theme.
2. A good amount of the collection seems to revolve around a theme of suffering and
unrest; however, the imagery throughout is far too vague to bring the people and places
to life. This issue is especially prevalent in the fourth section in poems like “Intrigue,”
“Betrayal,” or “Uprising.” I am not able to ground myself in the poems and imagine the
“you” or “us” described in a tangible way. I especially wanted to feel more connected in
“Betrayal,” where goals are mentioned and the stakes seem high, but I don’t know who
the “watchers” are in relation to the speaker and what the speaker and his beloved want.
3. Some sections, such as the sixth, had some stronger imagery but the lines weren’t as
powerful as they could be, and some line breaks seemed almost arbitrary. For example,
“Super-model” has a compelling concept but the general statements make the poem
otherwise forgettable. “Sherman” and “Fire” had some stronger imagery, but the choice
of line breaks made for unwieldy pieces.
4. Several stylistic choices also distracted me from the poems themselves. The poet
employs geometric shapes, small maps, borders around the poems, changing font
shades, lack of title on the page, and occasional grouping of more than one poem on a
page. I was unclear as to what these effects added to the poem. In poems like “Firemen,”
“Storefront,” “Yorkshire,” and “The Hills” I struggled to discover more than visual
intention to the shading effects. These stylistic choices are unique, but at the same time
it was too often difficult for me to understand their purpose.
5. I also feel that the collection would be stronger if the poet considered his theme heavily
and perhaps pruned pieces that would be more appropriate in another selection. For
example, some poems like “Robin Hood,” “Central Park,” “Rose Garden,” or “In
Absentia” were only a few that seemed disconnected from a larger, unifying theme.
6. Overall, the above issues tended to make the poems already mentioned (and those not
discussed) difficult to feel grounded in and to latch onto. Poems with clear speakers or
subjects often seemed vague enough to be referring to almost anyone, and I left the
collection a sense of frustration; I wanted to delve deeper into the poems than I felt was
possible. More attention to form, imagery, avoiding cliché, and strengthening theme
would help this collection grow.
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While these points did not touch on every poem in the manuscript, I have pages of notes that I
took while reading and would be glad to elaborate for the poet if he wishes. Thank you, again,
for the opportunity.
Sincerely,
Erin Christian
Assistant Editor
BrickHouse Books
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BrickHouse Books, Inc.
306 Suffolk Rd.
Baltimore, MD 21218
Clarinda Harriss, Director
charriss@towson.edu
brickhousebooks.wordpress.com
BhB, Inc.
Clarinda Harriss, Director
306 Suffolk Road
Baltimore, MD 21218
Dear :
Thanks for letting BhB see your commendable ms. Unfortunately, we concur in feeling that it's
not quite right for BhB and may actually benefit from additional revision. I join our assistant
editor in wishing you every success in finding your book an excellent home.
Sincerely,
Clarinda Harriss
BrickHouse Books, Inc., Maryland’s oldest literary press, is a not-for-profit corporation.
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BrickHouse Books, Inc.
306 Suffolk Rd.
Baltimore, MD 21218
Clarinda Harriss, Director
charriss@towson.edu
brickhousebooks.wordpress.com
BrickHouse Books, Maryland’s oldest literary press, is a not-for-profit Maryland corporation.
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Important Contacts
Clarinda Harriss. Directo charriss@towson.edu (Note: be sure not to omit that extra S!)
306 Suffolk Rd. Baltimore, MD 21218
Shelby Hillers, Online Editor (hillers.shelby@gmail.com)
Doritt Carrol, Associate Editor (doritt.carrol@gmail.com)
K Edgington, Associate Editor (kedgington@towson.edu) NOTE THAT SHE DOESN’T USE A
PERIOD AFTER K)
If you are a Towson University student:
Dr. Carl Behm, English internship director cbehm@towson.edu
Or
Professor Geoffrey Becker, Director of the Masters in Professional Writing Program
If you are not a Towson University student:
Contact whoever directs internships at your institution if you are seeking course credit for your
BhB work. Note that you do not need to be a currently-enrolled student anywhere in order to
apply for the internship.