Archive for the ‘Writing’ Category

A Writer’s Craft makes Poets & Writers

Untitled-2.inddOkay, I’ll admit it. Sometimes I search on my name or the title of one of my books. It’s not just vanity. Some days it can be useful to see what’s online about me or my work, and today was one of those days. Since I’d given away some exam copies of A Writer’s Craft at the AWP conference in Tampa, I thought I’d see if anyone had posted about it without my knowing. Instead, I found that Poets & Writers had included it in their list of Best Books for Writers, along with a short review that begins: “Either as an introduction or as a refresher, A Writer’s Craft serves as a straightforward guide to the broad world of creative writing.”

Here’s how Poets & Writers describes the list: “From the newly published to the invaluable classic, our list of essential books for creative writers.” I feel humbled and honored to have been added to such a prestigious list, and I’m very grateful for their positive review!

A Fitting Finale to #AWP18

What a great experience this AWP was! And what a fine ending. This evening, I went to an inspiring poetry reading, presented by the Academy of American Poets, featuring Layli Long Soldier, Khaled Matawa, and Mark Doty. In contrast to last night, there was no tension in the room and the poems were allowed to be political. Long Soldier read her response to the apology to native peoples signed into law under Barack Obama, after a preface where she recounted how it had been written and signed, but not read aloud and without any native leaders present. Matawa read a new series of poems about the migration crisis from the Middle East and Africa, and Doty read poems about his neighborhood  in New York with many references to the political situation in the U.S. The poems were not strident, yet they beautifully expressed the complexity of our time.

The most fitting ending, though, was that as I was coming out of the reading, I happened to check my email and saw that Tar River Poetry had sent the page proofs for a poem that will appear in this spring’s issue.

So the conference began with a poem accepted and published at The Ekphrastic Review and ended with news of another publication. I know “Birdsongs” had been accepted, but hadn’t been notified yet which issue it would appear in, so this was excellent news.

Between these two bookends, AWP was another great experience. This year, we had several students from our low-res MFA program in attendance, including one alumna, Tammie Rice, who helped organize our book table and got us some great swag (thank you again Tammie!). I got to talk to a ton of people, including several contributors to Ponder Review and Poetry South, as well as several teachers interested in A Writer’s Craft and someone at New Pages who might blog about it. I handed out lots of flyers and even a few exam copies I had on hand. I also got to reconnect with writer friends and make new friends at the book fair, and we had a great time at the Eudora Welty Writers’ Symposium panel, celebrating our 30th year. As always, it was incredibly busy, exhausting, and rewarding!

See you next year in Portland, where hopefully more great things will happen, though I doubt I’ll be able to match the experience of publishing a poem on the first and last day of the conference again!

Heading to #AWP18

This week, I’ll be going to Tampa for the 2018 Association of Writers and Writing Programs conference. As always, it will be a very busy few days—inspiring and exhausting.

This year, it will be a little different, since I’ll get to hang out with some of my students who are taking a Short Residency class centered around the conference. They will attend panels, help at our book fair table (T1411 if you want to find us!), and explore the book fair in their free time. They’re required to go to some professional panels on writing or the business of writing, as well as some panels that feature readings. They’ve already learned a lot just from scouring the schedule to see what they most want to attend.

I’ll go to the directors panels, both the general one and one for the Southeast region, and I’ll try to catch the Low-Residency Caucus panel, too, so I can hear about the latest developments that affect our program. But much of my time will be spent in the book fair, where in addition to our program and our literary magazines Ponder Review and Poetry South, I’ll also be giving out copies of A Writer’s Craftmy multi-genre intro to creative writing textbook.

And to top it all off, as if seeing old friends, working with students, and connecting with other writers and directors isn’t enough, this year I’ll be moderating and participating in a panel to celebrate the 30th Eudora Welty Writers’ Symposium, which will be held Oct. 18-20, 2018!

It should be a lot of fun! See you in Tampa, if you’re going to #AWP18!

Writer’s Resolution: Start or Update Your CV

This post is primarily for my MFA students, though it is a good new year’s resolution for any writer: start or update your CV. Curriculum Vitae is a fancy term for resumé, though the difference is that the focus of your CV is broader, and you will use it for applying for academic jobs, grants, awards, residencies, etc. A CV allows you to give a fuller representation of your life’s work, not just your employment and job skills.

As with a resumé, format it as a series of lists with headings. Start with your basic contact info: name, address, phone number, email. Follow this with Education, listing your college and grad school degrees and including any thesis or dissertation titles and directors. Include a degree program you a currently enrolled in before you get your degree, and list your expected graduation date.

For all your lists, start with the most recent accomplishments first, then you can add to the top of each list as you update it with new entries.

Next list your relevant Employment. You don’t have to list every job, though it’s good to list your recent jobs going back to college. What you want to avoid is he appearance of a long gap without employment or education, so if you worked at a temp agency to support yourself in grad school, you could leave that out and rely on your education listing as the most important activity in those years. On the other hand, if you waited tables for a couple of years after college while you wrote your first novel, you may want to include that job to account for those years.

After those two mandatory sections, you have some choice about the order of sections and what you want to label them. Writers will always list their Publications, though many of us break this into subcategories by genre: scholarly articles, poetry, fiction, etc. It is also common to have separate categories for Books and Anthologies. Readings or Presentations are good categories to include, as are Writers’ Residencies, Workshops or other professional activities you have attended or led. A section on Grants and Awards is also good to include, once you have one or more.

There is a good article on writing an Artist’s CV on The Practical Art World and another on CVs in general at The Interview Guys. These sites give examples that will give you ideas on how to format, and you’ll see that the typical CV is for academic jobs, so it highlights scholarly publications and achievements, while the artist’s CV highlights creative achievements. A writer’s CV is often a combination of these two approaches and can be rearranged and revised for the situation you want to use it in. You might highlight scholarship when applying to academic jobs and publications when applying for a grant, for example.

Once you have your CV started, add new accomplishments as you learn about them. List work accepted for publication as “forthcoming” and update with the full publication information once the it appears. Starting a CV may be the hardest part, so do it now when there isn’t a rush and when your lists aren’t too long. Then add to it periodically and take advantage of the new year to review it and make sure you haven’t missed anything from the past year (or more).

More Advice for Poets

This is a follow-up post to the one I made recently about Poetry Submissions. This week, I placed two poems in Valley Voices, and on the recommendation of editor John Zheng, I sent 3 haiku to Asahi Haikuist Network who took them for upcoming issues in October and next May.

What I learned from this (or was reminded of) is that it is good to form friendships and connections with other editors. Without John’s suggestion, I might not have found Asahi Haikuist Network, which I’m now glad to be able to read and to publish in. Haiku isn’t the main style of poetry that I write, but I suspect that reading more will inspire me to write more. I have a series of haiku that I worked on for my 4th manuscript and may continue to add to. Most were published in Poetry South when John was the editor, but these newer ones hadn’t found a home until now (and I hadn’t sent them out until now).

The other lesson I discovered about submitting poetry is to put your best poems first. That may seem obvious, but in reading submissions I am often surprised by the number of poets who don’t do that — or maybe they think they are doing it, and I just don’t like Poem 1 as much as Poem 4. You do your best and you should try to put the best poem for the magazine you’re submitting to first — the order may change depending on where you’re submitting.

Often in a submission, I treat it like a mini-collection. Most journals want 3-5 poems, so that’s less than a cycle, but there’s still probably a logic to the poems you send out together. I hope a journal might pick up more than one, but I still feel the submission is stronger if I send related poems. Now and then, though, especially for a magazine I’m not as familiar with, I will send a fairly random group of poems. Still, I want the tone to be about the same (humorous or deep, for instance). Thematically, the poems may be different, but something should connect them.

I want an editor to like the group of poems I’ve sent and even to consider accepting all of them. I know the reality is that an editor will then choose the poem or maybe 2 poems they like the best, but giving a good total impression will help sway the decision in the favor of the 1-2 poems they like best.

Having one of those poems first in the submission file is imperative. A reader may not make it past Poem 1, and if they do, their opinion of the poet will be colored by the poem they read first, so the subsequent ones may not get as close attention if Poem 1 doesn’t strike a chord. I know that’s true for me when I’m reading. It’s only human nature and is influenced by the sheer bulk of submissions any reader for a magazine is likely to encounter.

Making a decision about the oder of poems in a submission is part of taking the proper care to submit work that is polished, proofread, and carefully revised. It’s part of the process that an editor will appreciate. And if all the poems in a submission packet are of roughly equal quality (I know as the writer it can be hard to make those determinations), then each poem should build on the previous one and lead into the next. Consider your submission as a whole and not as individual pieces of paper that you’ve thrown out into the wind.

Poetry Submissions

It’s been a busy period, getting classes started, welcoming new students to our MFA program, and working on the schedule for next semester — yes as an administrator, I always have to be thinking ahead! Yet maybe the most fun part of the new academic year has been spent with poetry submissions, which I’m looking at from both sides now.

On the one hand, all summer in any spare moments I can find, I’ve been reading poetry submissions for Poetry South. This is our second issue of editing the magazine, and this time I vowed to take a more active role. With Issue 8, I let our Literary Magazine Production class take the lead in reading through the slush pile, and I weighed in more with the final decisions and with putting the magazine together. Once the class moved on to focus on our other literary magazine Ponder ReviewI took on the slush for Poetry South.

Last semester that was a trickle and was fairly manageable to do on my own, but as we put out a call for submissions and as our annual July 15 deadline loomed, I knew I would be overwhelmed, so I did call in reinforcements with 3 volunteers over the summer. We received about an additional 180 submissions. Reading them has been fun and challenging, and it has given me insights into my own submission process:

  1. I need to submit more and to more places. Editing a magazine drives home the old advice that every journal has way more submissions than they can possibly use. So you need to get your work out to many places. I still don’t like doing too many simultaneous submissions, but I have quite a few poems, so I need to keep them out there, and when a magazine has had them for awhile, I’d rather send those poems somewhere else and then withdraw from whoever accepts first.
  2. There’s a lot of pretty decent poetry out there. Some of it may be better than others, but what gets accepted often has more to do with what strikes an editor’s fancy than absolute quality. Maybe a poem works well with another poem that’s been accepted. Or maybe the editors don’t want two similar poems in the same issue. Judgements can be arbitrary and subjective (but when you’re accepted, it’s still a sure sign that your poem was the best).
  3. I will try to avoid submitting close to a deadline — I’m looking further out and trying to submit while there’s still a fair amount of time left. I know from my reading experience that the last poems in chronological order are likely to get less attention. On the other hand, I’m still looking for a few really good submissions, so it’s never too late. The bar may be higher, but a great poem will still get noticed.
  4. I will look for calls for submission in some of the same places I post them — Submittable, CRWROPPS, Duotrope, etc. I know when I do that many others will be submitting but the journals are actively seeking submissions. I also go back to some of my favorite journals and try to catch them when their submission periods are starting. I set reminders for myself if there’s a place I really want to target.
  5. I will keep submitting even if submissions keep getting returned. I know how overwhelmed journal editors are (and Poetry South is a small magazine with many fewer submissions than most). I can’t take it personally, though I will take any individualized note about a submission personally. If someone takes the time to do that, then I’m happy.

The nice thing about working with Kathleen, Xenia, and Tammie on Poetry South is that I don’t feel I have to catch everything. If I’m tired and therefore don’t pay close attention to a poem, one of them wi’ll let me know if they saw anything in it. If someone liked it, I’ll give it another look. If it didn’t speak to anyone, then we’re probably safe passing on it and letting another editor at another magazine take it. Nobody’s perfect, and if we miss a great poem, well, so be it.

Besides reading submissions, I’ve been sending poems out. I’m trying to target my submissions better (always) and trying to shoot for better placement in magazines with larger subscription bases and bigger reputations, though I’m also looking for good little magazines that maybe I haven’t heard of. I want to send to a mix of magazines so my odds of getting accepted are better, and yet the chance of getting in a top market is good.

And I wrote my publisher, Texas Review Press and sent them a book proposal for poetry collection #4, currently with the working title of Breathe and Other Poems. Let’s see if they bite…

Dispatch from the #MSBookfest

MS Book Festival with capitol dome
This past Saturday, I spent almost 10 hours outside on the capitol grounds in Jackson, Mississippi. Under normal circumstance, you might have to be crazy to do that in August, but this was no ordinary Saturday. It was the 3rd annual Mississippi Book Festival, and I was there in my third role.

The first year of the festival, I came down as a volunteer, and spent my morning in the Information tent, telling people where to go and how to get there: questions I quickly learned how to answer, even though I hadn’t been there myself. Fortunately, by afternoon, I was relieved from my post and went inside. I even managed to get into a few of the panels (attendance was high that first year, and you had to get in line early — attendance is still high, but there are more sessions in bigger rooms, which helps).

My second year, I was on the poetry panel, so I spent much of my time indoors waiting for my panel, reading, and listening to other panels. I did go outside to sign books and then to browse the bookstores and exhibitor booths.

This year, I opted to be an exhibitor myself, getting a booth for our low-residency MFA program. I also brought along brochures for our undergraduate concentration, the Eudora Welty Writers’ Symposium, the Ephemera Prize for High School Writers, Poetry South, and Ponder Review. I even brought my books and a brochure for A Writer’s Craft.

One thing I learned was that if you arrive at 7am and stay outdoors all day, it doesn’t seem as hot as it does when you come back from a midday break indoors and experience the heat full strength. The shade helped enormously, of course, as did the occasional downdraft of cooler air from one of the pop-up thunderstorms that went over, but didn’t drop much rain (thank goodness, though I had a tarp, just in case). And naturally, it’s good to bring plenty of water and dress appropriately for the weather. I kept my water bottle filled, and I wore a new quick dry, W Owls polo.

View from our table at MS Bookfest

It was also fun to meet the other exhibitors, and to talk to all the attendees who stopped by. It was great to meet prospective students, writers, high school students who were excited about the Ephemera prize, and W alumni who wanted to reminisce about the good old days.

Thanks to Carol Ruth Silver and Michael Farris Smith for stopping by, as well as to current MFA students Sally Lyon and Katrina Byrd. It was also great to see all the young kids who were enjoying the book festival: one barely old enough to read, but very excited to be there.

I gave away nearly all my brochures, and even ran out the one for the Eudora Welty Writers’ Symposium. I passed out copies of Poetry South, along with bookmarks, calls for submissions, pens, stickers, and the ever popular W mints. Though I didn’t get to go inside to catch any readings (next year, I need some helpers), when I did go in for my break, I could tell the crowd seemed every bit as big as in years past, and every bit as satisfied with the event. And when I was outside at the table, I was entertained by live music, people watching,  butterflies, and a gorgeous day.

If you haven’t been to the Mississippi Book Festival, you owe it to yourself to go next year. If you’re a writer, you might get on a panel (or set up your own booth for self-published and small press authors). If you are with a literary or arts organization, then you might want to have your own exhibitor’s table. And if you’re in the general public, then you can just go and enjoy all the free readings and entertainment, and maybe even buy a book or two. There are also plenty of food trucks with po’boys, catfish, popsicles, and other summer delicacies.

It is billed as the “hottest book festival in the country,” but don’t let the fact that it’s in August hold you back — if my fellow exhibitors and I can handle staying outside all day in 90+ degrees with a heat index over 100, then you can handle trips to the outdoor tents sandwiched in between readings in the Capitol and neighboring venues.