Super excited to announce one of the literary/artistic projects I've been working on since winter.
I'm writing a book of illustrated poetry, entitled Particle, and I'll be sharing exclusive excerpts of poems from time to time.
Thrilled to get to collaborate with talented visual artist/illustrator/poet extraordinaire @annabelle_fern , who is a dream to work with and brought all of the illustrations to glorious life; can't wait to see her next visual magic!
For commissions and to check out more of her amazing artistry: @annabelle_fern .
My article was published today at Women on Writing! Enjoy. :)
“Six Insider Tips for Poetry-Publication Success”
By: Melanie Faith
So you’ve been writing poems for months or years, and you’ve decided that you’d like to try for publication. Great idea!
You’re probably wondering where to begin and how to know which poems to submit. Here are some insider tips to encourage your poetry-submission process and to make it easier.
1. Put your best poem forward. Open your submission packet with your strongest poem. Make sure to edit that poem so that its first lines/stanza includes no warm-up or filler words. Grab the reader’s attention with an intriguing image or beautiful, meaningful language from the get-go.
2. Follow posted guidelines, to a t. Always check online guidelines (the vast majority of literary magazines have them posted, whether at Submittable or their personal webpage).
Many journals request three to five poems at a time, but there are some exceptions to that rule. Don’t send more poems than the maximum number listed; it would be a shame for your submission to be automatically rejected for not following instructions (I admit it’s happened to me more than once).
Guidelines will also include the specific genres requested (some journals only read prose, for instance, or they only read one specific genre per issue).
3. If in doubt—ask! What if you’ve written a prose poem, but that’s not listed in the guidelines? Or what if the submission guidelines don’t include a specific number of poems to submit? What if you’re wondering about simultaneous submissions? These are three excellent reasons to send a quick email to editors; I’ve certainly done so for these reasons and others.
Politely introduce yourself and list that you are a poet, ask your question, thank the editor(s) for their time, and include your email address and/or other contact information. Easy-breezy.
Do remember to respect their time: only contact them once; wait for an answer. Even a month isn’t too long to wait (remember that they often have hundreds of submissions per issue and busy lives outside of their jobs). Usually, though, you’ll hear back from editors within a few days or much less.
I’ve found editors quite generous with their time (many are also writers) and very willing to clarify or consider various types and themes of poetry even if they haven’t listed them directly in the guidelines. Just make sure, as a courtesy, to double-check and to send the query email before sending the work; never just assume you can send whatever you want.
4. Consider the poetry-publication process to be more of a marathon than a sprint. Adjust your (speed) expectations just a bit. Yes, I know— I’m also very used to the instant gratification of the internet. On the other hand, the pace of creating, editing, and submitting new poems is a slower, yet no less meaningful, art.
Set monthly goals for yourself (mine is to submit at least three submissions of poetry, photography, or prose per month, year-in-year-out), and then give yourself room to continue exploring your genre. Publication might not happen overnight (it’s not fast food or on-demand content), but it will happen. Keep submitting.
5. We’re living in an exciting time, where we can self-publish some or all of our content. You may feel free to share, from time to time, on your blog (or to guest blog) or on social media posts, but keep in mind that many online and print publications consider work published online anywhere as already published, and so it may knock that poem out of the running for submitting to literary magazines in the future. For 100% self-publishing poets that might not make any difference. For other poets, a more balanced approach might be of interest.
I’ve known writers who shared sneak-peaks of their poems or poetry-in-progress online to engage with readers, but they kept other poems for literary-magazine submissions, which is one great strategy for developing an audience while also pursuing publication. As you go, you’ll find a combination of withholding and sharing that works for you.
6. Continue to write and to develop your skills while waiting to hear back from editors and publishers. I started to submit work regularly around the time I graduated from college. I didn’t have the money to go to graduate school for my MFA right away, so for a few years I started my teaching career and kept writing in my free time while I also took a few other positive steps to continue to learn and to grow as a poet. I participated in open mikes and readings. I joined a writing group for a few months to meet others who were also on this poetry-penning path. I workshopped, both within a larger group and one-on-one with a new writing friend. I met some new writing pals online and we shared our work through emails. By the time, six years later, I had paid off my college loans and was able to apply to grad-school programs, I had steadily built my writing skills and had publication credits from several literary magazines.
Never underestimate the power of networking for growth as a poet. Join a poetry writing/reading group or start one in your community or online.
Take a noncredit poetry-writing class, again in your community or online at WOW!
Swap drafts with a poetry buddy once a month, to offer each other encouragement and helpful suggestions.
Read poetry journals and books online and in print to become aware of the markets for poetry as well as the work of your fellow poets.
Any or all of these suggestions will prove a great asset to your poetry-writing and -submitting processes.
Care to learn more? Consider my May class, Poetry for Publication: an Insider’s View. Here’s the scoop and skinny:
Super excited to share the scoop on my spring 2019 writing and creativity classes at WOW! Whether you love prose, poetry, or photography (or all three, like me), there’s a little something and some big inspiration for everyone.
I’d love to have you join us! Course synopsis and direct links below.
I also just got a batch of my new writing books, In a Flash! and Poetry Power, that are all set to be signed and sent to fellow writers to spark the Muse. I have both individual copies and a special, sale book bundle of both texts that are jam-packed with prompts, examples, and literary goodness.
To a fabulous, creative spring ahead!
beginning Friday, March 15, 2019
I have just a few spaces left in this fun workshop. Reserve your spot today. :)
COURSE DESCRIPTION: Flash is a dynamic, fun genre that more and more editors seek. Both flash fiction and flash nonfiction share many of the same qualities, from characterization and setting to conflict and dialog.
In this five-week workshop, we’ll explore this eclectic art form and everything you’ll need to have a lively flash-writing practice, from where to get ideas and drafting to editing and submitting your work. We’ll discuss practical tips and techniques along with inspiring exercises from our text, In a Flash!: Writing & Publishing Dynamic Flash Prose, by Melanie Faith. Students will submit drafts weekly for constructive and supportive instructor feedback. There will be a private group for students to discuss the literary life and for sharing of literary resources, such as markets and quotations about the writing process.
Imagery Power: Photography for Writers (back by popular demand!),
beginning Friday, April 5, 2019
COURSE DESCRIPTION: “Fiction, like dreams, exists in images... Fiction must exist in images, not abstractions,” wrote John Dufresne. Indeed, the ability to develop imagery is important in all forms of writing, from poetry to essays and all sorts of descriptive writing. The art of photography, an evocative visual art, frequently helps authors hone our image-seeking and development skills. There won’t be technical jargon of F-stops or aperture priority in this course and you are free to use any form of camera you already own and love—from camera phone to digital, DSLR to Lomo, instamatic, you name it; this class is about cracking open the everyday extraordinary, about the kind of seeing and focusing on detail that will enhance your writing and spark ideas for months to come.
In this four-week workshop, we’ll take a daily photo-taking prompt for a spin, post our response, and describe what inspired each photo at our class group. During the second week, you will begin a piece based on one of the photos you’ve taken that you will share (in part as an excerpt or in full, up to you) with the class during our fourth week. Handouts on topics covered will include: Truthiness: Adding Layers to Your Art with Art; The Genesis and Development of Imagery: Example Sheet of Published Work; Submitting Your Work to Literary Magazines & Other Venues Looking for Photos: Cover Letter Tips; Photographic Resources to Check Out!; Tips for Writing about [Our] Art; How to Match Your Photographic Style to your Writing Style; Ekphrasis and You: Writing in Tandem with the Visual Arts; and Tips for Writing Fabulous Writer/Artist Bios. There will be a private group for students to discuss our creative process and share daily responses to each prompt and for sharing of literary resources, such as markets and quotations about the image-making process.
starting Friday, May 3, 2019
COURSE DESCRIPTION: Ever wonder how to go from scratching drafts in a notebook to sending poems to literary magazines that will get chosen for publication? Ever pondered what editors look for in literary journal submissions? How should we keep track of poetry submissions, and should we do that odd thing: “simultaneously submit?” Ever started a manuscript only to find it all a bit daunting to know what poems to include and which to omit? Want to prepare a chapbook or full-length collection but not sure where to start? How do we get past stalled drafts or stalled manuscripts to persevere and find our writing and reading community? If you've wondered any of these questions, then this is your workshop! Learn real-world, first-hand advice and tips from a poet who has judged poetry contests, published chapbooks and a full-length collection, and regularly submits poetry to literary magazines. Just because it’s chockfull of practical information, doesn’t mean it won’t be fun.
In this four-week workshop, we’ll explore what literary magazines look for in submissions, how the instructor as well as several other poets put together chapbooks and/or larger collections of poems, and insider advice for editing work with an eye towards publication. Students will read Ordering the Storm: How to Put Together a Book of Poems edited by Susan Grimm as well as excerpts from Poetry Power by Melanie Faith. There will be a private group for students to discuss the literary life, ask specific questions related to putting together a submission and/or manuscript, and for sharing of literary resources, such as markets and quotations about the poetry writing and submission process.
Topics covered will include: Best Foot Forward: Arranging a Poetry Manuscript; Journey without a Map; Finding, Unifying, and Revising the Body of Our Work; Throwing Poems at an Editor to See If They Stick; Keeping Company: Thoughts on Arranging Poems; Write Opportunity, Wrong Timing; Wild Cards: 8 Tips for Choosing Poems for Submission; The Art of Offering Feedback; The Plandid and Other Splendid Editing Options; Lavender Disappointment: on Adjustment of Expectation and Stalled Drafts; 76 Rabbits out of a Hat: or: The Quirky Tale of How One Poem became a Whole Book; 21-Century Publishing & Guidelines for Finding Your Ideal Audience; Spring out of a Writing Rut! 8 Tips for Getting back to Business, and more.
My craft article was published at Women on Writing today. Enjoy! :)
“3 Tips for Developing Theme within Poetry”
By: Melanie Faith
I started as a fiction writer before discovering the wonders of poetry at the grand age of 17. (Thank you, Mr. B!)
One quality shared by resonant poems I read in literary journals, anthologies, and from my students' pens is a strong theme.
How can we explore theme to deepen our own poetry?
1. Imagery is where it's at. As poets, we are all about compression. Can we say it in fewer words? Can those few chosen words be rich in the five senses? Can the chosen diction include a symbol for a bigger idea? All of these questions help lead us to imagery that razzle-dazzles our readers.
If I wanted to write a love poem about tentative love, it's unlikely my readers will be as stirred by my flat-out stating, "We were on-again, off-again," as they would with a simple mention of a flickering candle on the windowsill.
Imagery is economical and meaningful. It also creates vivid pictures in your readers’ minds that they’ll remember long after reading your work and, in many cases, invite them back for further reads.
2. Characterization and setting can get the job done. I hear a boatload of discussion in fiction and nonfiction classes about creating realistic characters, and for good reason. This same technique can be applied to poetry to create fantastic engagement from readers and underscore your theme without the dreaded (drumroll, please) telling instead of showing [shiver].
Writers can create poems from numerous characters’ POVs to underscore theme. Persona poems develop a narrative and can be read as individual works of art, such as Robert Browning’s “My Last Duchess,” or paired together to develop a longer narrative, conflict, and/or setting. Great examples include Edgar Lee Masters’ 1915 classic Spoon River Anthology, Traci Brimhall’s Saudade (2017 Copper Canyon Press), and poems in my most-recent collection, This Passing Fever (2017 FutureCycle Press).
Paired poems may move back and forth through time and setting (as they do in Brimhall’s work and my work) or remain in one town or place (as in Masters’ collection).
3. Subtlety is your friend.
Sometimes, once we have chosen a theme for our poem, we excitedly write lines that spell out our meaning with all the charm of a doornail. For instance, using the word “grieving” and “died” in a poem whose theme explores death, or stating “flowers always make me happy” in a poem about the therapeutic powers of gardening.
Many poems I see that run off the rails do so when poets begin to explain (or over-explain) rather than trusting readers to intuit the theme on their own.
How can we provide clues for our readers so that they will be sure to deduce the theme?
Glad you asked: figurative language aplenty. Figurative language is understated yet satisfying. Similes and metaphors are often great indicators of theme. As are usage of symbols and imagery. Incorporating sound effects, such as words with hard d sounds for dramatic or tense themes or words with soft m or n sounds for quieter or peaceable themes, can other excellent thematic indicators.
Try this prompt: Choose a poem where you have stated part or all of the theme directly in your poem. Make a list of three images, symbols, characters, or settings that could highlight your theme instead. Pick one detail from your list and, after omitting your theme-stating line, add in details related to your chosen image, symbol, characters, or settings. Compare drafts.
Looking for inspiration to jump-start your Muse in early 2019? Have I got a class for you! Vigorous and Vibrant Verse: an Online Poetry Workshop.