Don’t forget to watch the new episode of Culture & Main tonight at 8 on WRCT Ch. 18 or streaming live at wrct.tv.

What did you think of episode 15?

Fill your journals with poems and edit them mercilessly before you submit them to literary journals. Photo by Flickr user mattbeckwith.

If you’re a poet who is considering sending your work out for publication for the first time, I have some advice for you, for what it’s worth.

Well, first, I have congratulations, because it’s a big step. I know how hard it is to negotiate between wanting the world to see something you’ve written, while being simultaneously afraid of criticism and showing your own naiveté.

That said, here are (sometimes snarky) translations of common phrases you’ll see in submission guidelines, plus some dos and don’ts – all things I wish I’d known when I first started:

“We are seeking poems that light the cosmos on fire, that challenge and defy readers’ expectations with their molten insights, that raise the bar for lyrical virtuosity etc. etc.” Translation: I have no earthly idea. Long-winded explanations about a journal’s particular editorial bent are, with few exceptions, moderately annoying to me because, well, did you read the above, exclaim, “AHA, I have just the poem!” and run to your laptop? No. The editors are being fancy with language, which is their way of saying they want you to be, too. They want to be wowed. They want you to send them your best, most polished work. Every time. That’s what editors want.

“Previously published poems are not accepted.” Translation: We do not publish anything that has appeared elsewhere in print or online. The typical exception is if it has appeared on your personal blog, but even some journals are picky about blogs. However, most journals that consider your blogged poem “self-published” — and therefore previously published — will specifically mention personal blogs with their policy on previously published work. And you can always ask.

“Simultaneous submissions are accepted.” Translation: It’s OK if you’re sending us poems you already sent or are planning to send to another journal. Usually followed by the phrase “Please notify us if the poems become unavailable.” Translation: Let us know if another journal offers to publish one of the poems you simultaneously submitted to us so that we don’t waste time in an in-house editorial debate over a poem we can’t publish anyway because it’s going to be published somewhere else and we don’t accept previously published poems.

“Simultaneous submissions (SSs) are not accepted.” Translation: We’re going to tie your poems up for months and months, during which time you won’t be able to send them anywhere else. We are mean. (There are precious few exceptions, but journals with lightning fast turnaround can, I suppose, justify a policy of not accepting SSs. I suppose.)

“Multiple submissions are accepted.” Translation: You can send us more than one submission at a time. Simultaneous = more than one journal, multiple = more than one submission to just one journal. It’s confusing, I know. Often, a journal’s guidelines will address their policy on multiple submissions not by using the phrase “multiple submissions,” but by saying something like, “Please wait to hear back from us before submitting again.”

“Please include a brief bio.” Translation: Tell us a little—a little—about yourself, and please include some details about your activity in a literary community, including any previous publications, participation in writing groups, etc. If you don’t have any, it’s fine to simply say “I’m a writer living in York, Pa.” If you have a million publications, it’s not fine to list every single one. Rather, say, “My poems have recently appeared in … ” and then list four or five publications in the last year or so. A good editor will not base a yes or no decision on whether you have any poems published in major versus smaller or lesser known journals — or any poems published at all.

“Please include a brief cover letter.” Translation: Please include a brief cover letter. For first-time submitters, perhaps no phrase instills more anxiety. A letter? Isn’t that why we have email/tweeting? What do I say to someone I’ve never met? How do I not sound like an idiot? Here’s my formula: Greeting, titles, SS yes or no, thanks, bio. You can’t go wrong with this. Your greeting can be a simple “Dear editors, I like your journal,” or it can be more specific, like “I love so-and-so’s poem about grapefruit from your most recent issue, so I think my poems on plums might be a good fit for your journal” (Actually, yes, do that. Editors love to hear compliments disguised as evidence that you’ve read their journal). Then you list the titles of the poems you’re submitting, address whether or not any of them have been or will be submitted to other journals, thank them for their time and paste your bio below your signature.

“Response time is three months.” Translation: We’ll either accept or reject the poems you sent us within three months. Sarcastic translation: We’ll either accept or reject the poems you sent us within nine months. Kidding! Sort of. Kudos to the journals that live up to the response times they advertise. We all try to do that. Please don’t be mad if it’s three months and two days, but do query if you’re still waiting at the four-month. mark

“Dear poet, we really like this poem but are wondering if you would consider changing …” Translation: We really like this poem, but we aren’t going to publish it unless you make this change. Ultimately, we understand that you’re the author, and we don’t want you to make any changes to your poem that don’t feel right. But if this change is an acceptable one for you, we’re probably going to accept and publish this poem. Thank you for not being offended, because we’re only trying to help.

 “We acquire first time North American rights upon publication.” Translation: Copyright reverts back to you, the author, when we publish your poem, and we ask that you cite us as the original publisher if the poem is reprinted in a book or republished elsewhere. This is standard operating procedure.

Separating the pros from the NOs 

Do follow all submissions guidelines, especially regarding deadlines and number of poems.

Don’t send nasty emails, unless you like knowing that your nasty email is being forwarded back and forth, with colorful commentary, between all editors, until they tire of that and simply block your email so you can’t submit there again. Bonus for you if they don’t tell any other journal editors, but don’t count on it. Assume that poetry editors are unpaid. Translation: They aren’t paid nearly enough to handle nasty emails professionally.

Do follow and engage with editors and writers you like on social media. This is networking, community-building, socializing, etc. Writers like communicating, and if you’re just starting out, you can use all the contacts you can get.

Don’t stalk, harass or trash-talk. If you’ve been rejected, nothing screams newbie like posting “Why didn’t you publish my awesome poems?!” on the editor’s Facebook wall. (You’d be surprised … ) Slightly less crazy but still unacceptable is attempting to discuss your submission outside of the journal’s submission/query venue. In other words, the journal’s general correspondence email is the place for a query, question or comment, not a public tweet to the editor’s personal Twitter handle.

Do keep track of your submissions. It doesn’t seem like a big deal when you send one batch of five poems to one journal. But then you send it out again, and maybe again, and — wait, which journal doesn’t take simultaneous submissions, and is it time to query about that first one yet … You get the point. I created a simple Excel file with an alphabetized list of my “ready to submit” poems running vertically and “Submitted to” columns running horizontally. When I send a submission, I add the journal’s name and the date I submitted. And I color-code. Well, there’s really no code. I just like using colors.

Don’t not keep track of submissions. It’s worth the double negative to make this point twice.

Do double-check that you’ve spelled the editor’s name(s) and the journal’s name correctly, and that the email address matches the journal.

Don’t, absolutely do not, forward the same submission, with generic cover letter, to 20 different journals. Inevitably, someone is going to hit “reply all,” inboxes will be jammed and nastiness will ensue. If you want an editor to personalize her/his response, you should personalize your submission.

Do handle rejection graciously. Don’t take it personally. Sometimes rejection doesn’t have anything to do with the quality of your poems. Many editors try to organize issues around particular themes, and seek to publish not just the best work they receive, but the best work that fits that theme and/or meshes with the other accepted work. (Translation: “Stairway to Heaven” is a masterpiece, but perhaps it doesn’t belong on a soundtrack with djembes and banjos.) Plus, editorial preferences are subjective and fluid. Editors have bad days, even get on kicks akin to how I’ll eat nothing but English muffins for breakfast for six months at a time.

In short, submissions are a crap shoot. If you take nothing else from this post, take this, the best piece of advice ever given to me (and by an absurdly famous poet, too): If you want to see your work published, be persistent. Read widely, write often, revise appropriately and keep trying. The only difference between the serious published writer and the serious unpublished writer is the number of stamps licked and sends clicked.

Resources for submissions:

Duotrope

Newpages

Poets & Writer’s Magazine’s classifieds section

Writer’s Digest

Don’t forget to catch a new episode of Culture & Main tonight at 8 on WRCT Ch. 18 in York or streaming live at wrct.tv.

What did you think of episode 14?

Look for PoemSugar titles at www.etsy.com/shop/PoemSugar.

York’s Poet Laureate hates sleep.

Actually, I’m sure she loves sleep. I’m just not convinced she gets any because she’s too busy writing poetry, promoting poetry, attending poetry events (which, in the York region, are many), and booking/coordinating/producing a weekly TV show about poetry (and art, and music).

Oh, and she also publishes poetry.

Carla Christopher runs an independent small press called PoemSugar. Her sleep recently took yet another hit when she agreed to take time to answer some questions about PoemSugar and the poets she’s published.

Warning: Her enthusiasm for her authors is infectious. It’s like a PoemSugar high.

Q. With all that you already do with and for local poetry, what prompted you to start a small press? How did PoemSugar come to be?

A. I was inspired to start a local press that served the York area because once I started exploring and enjoying the poetry world, I was greedy for more. I loved the voices I was hearing at readings and shows so much, I wanted to take them home with me … but far too many authors didn’t have any books! Some authors were shy, some had previous yucky experiences with larger publishing houses and some just didn’t know enough about the publishing world to even know where to start. I was awed by the quality of work that other local small presses were putting out and at first considered encouraging artists to just check them out. Plan B Press in Berks County, Iris G. Press in Lancaster, Post Dada Press in Harrisburg — all have top quality books by amazing authors.

I am an all-York-all-the-time girl, though. I believe in the talent that exists locally, and I believe it’s best served by a local press that understand the market and has those regional connections. Besides, there is room for all of us. My second book, “Baby, Read Me Something with Rhythm,” was an experiment to see if I could publish a book worth looking at. I found a genius copyeditor and all-around resource finder in local poet and Parliament board member, Missi McLaren. I found a great second reader and publicity guru in Crystal Charisse, another local poet … and the book came out pretty darn good. I learned a lot, though, and our next book was even more incredible, as are all the others (yes, I admit to being slightly biased).

We have a very specific mission. PoemSugar is about having an author-centered publishing process, where the author is actively involved, fully empowered and thoroughly educated. PoemSugar authors retain their own copyright, have the right to publish their poems in other journals or competitions and get final approval on everything. We are not going to make any edits or design a cover that the author hates, then just tell them to live with it. I make the authors do their share of the work, too. I will spend hours editing work or debating poem order, and will help to book shows and coach performing. But my goal is, by the end of the process, each PoemSugar author should know enough about the publishing process to either go to a larger publishing house and not be taken advantage of OR be able to publish a book themselves. I make them get their hands dirty from beginning to end, and all of us can be tough. I may run PoemSugar, but when I was working on my most recent collection, “Addicted to Relapse,” Missi had no problem telling me “That poem doesn’t go — take it out!” I had help all along the way with poem selection, editing the pieces, finding errors and typos and deciding on a cover concept. It’s the best of both worlds — the skill, advice and help of a publisher and the control of self-publishing.

Q. What kinds of voices and poetry do you wish to promote via PoemSugar?

A. As for what kinds of voices sing the songs of PoemSugar…we service first or “first in a long time” authors who are particularly dynamic, creative and outside of the traditional poetry box: Minority, LGBT, young or experimental-style authors who are traditionally underrepresented by traditional publishing houses. Rich Hemmings, who we published a chapbook for, has been a bastion of the York poetry community for more than 20 years, but he has a very unconventional, slam-inspired style. We published “Orbits Around a Lightless Star” and it worked. “Below-the-Belt” was a collection of erotically-inspired poetry by lesbian or bi-sexual women. We published it and audiences adored it.

In the works right now are a spoken word-inspired collection that totally works on the page by local performer, Joslin Kearse, aka SoulCry, and an inspirational collection by TJ Gagliardi that explores the journey through clinical depression. SoulCry literally brought an audience to its feet at a recent reading … in the middle of the poem! They wouldn’t even let her finish! Who gets that? And TJ — the man uses totally contemporary language and imagery about powerful issues and manages to put them in sonnet form? Tell me these authors don’t NEED books!

Q. How do you acquire manuscripts? Do you solicit authors that you want to publish, or accept submissions, or run a contest?

A. I absolutely will solicit an author I think should be published, but our most recent collections have been from authors who approached me.

Q. We talked about the logistics and challenges of producing an arts showcase for TV. What are the logistics and challenges of running a small press? How do you see the press developing or evolving in the future?

A. Down the road, I would love to have contests and open calls to solicit manuscripts, but we’re a small press and give tons of individual attention to each book. In the last year, we have published six books and we already have two more in editing and another two in the wings. We need some more editors for all that! I absolutely see PoemSugar evolving in having the staff and funds to publish even more books, becoming the go-to source of York’s most exciting poetry. I see a journal in our future, and annual contests to find new authors. In this, our fledgling stage, it’s a constant battle to find the money to print each book and to market it and to find the time to work intensely one-on-one with each author. We make it happen, though, because the work is just that good, and, I believe with all my heart, needs to be shared. A published book is a gift to future generations, a legacy, the ultimate personal statement. It’s who you are, who you were in a certain time and place that can never be recaptured once it has passed. Being a part of that process with each author PoemSugar publishes is a gift I would never give up on.

Thanks, Carla!

Read any PoemSugar books lately? 

Brutal Allure, poems by Melissa Carl (Bryce Cullen Publishing, 2011).

We’ve seen and read what York poet and educator Melissa Carl can produce under the parameters of form (found poetry) and the constraints of time (a daily writing challenge).

But since wrapping up my coverage of her participation in Pulitzer Remix, I’ve read her book.

I can tell you that what Melissa can produce without the aforementioned constraints is still controlled, highly structured and crafted.

She finds more than enough adequate words, phrases and images in her own mind to move us as readers.

“Brutal Allure” was released in 2011 by Bryce Cullen Publishing. Many of the poems within were first published in print and online journals like Third Wednesday, Off the Coast Magazine, and the more locally-based Fledgling Rag, Hanover Evening Sun, and, of course, the YDR.

Melissa is a very precise and thoughtful poet. When I read lines like “On my stomach on the red / shag rug I counted oceans,” I think first of the child who is speaking in the poem because that’s who Melissa wants me to think of. But then, I think of the poet herself, seeing ocean waves in a shag carpet, needing to be closer, to look longer, to get the image right in her mind so she can later pick the right words to describe it. “I was young –” — she tells us — “touching things / somehow made them mine.”

Her poem “Spork” is deceptively simple, even whimsical. “I love … its mutant cuteness,” the poet informs us. But just as we settle in for a “cute” poem, Carl hits us with:

I love its spine and tines,

its silly bravery,

 

how it seems convinced

in a human kind of way

 

that it is one of those fine rare things

 

that can choose its uses.

In a human kind of way, how sad is that — a reflection on being unable to choose how you will be used in your life? That such brooding introspection can occur in a poem that begins so lighthearted, and was triggered by examining so banal an object as a spork, is a poetic feat. (Watch and listen to Melissa read “Spork” on episode 11 of Culture & Main.)

None of Carl’s brooding is dramatized or even always obvious. In “Recurring Dream,” Carl writes, “Here the sky looks made of fog and bruises.” Do you see how saying it this way is different than saying, “the sky looks like fog and bruises.” It’s somehow more sad, that the vastness of the sky is actually comprised of vagueness and physical pain, rather than merely resembling it. She doesn’t tell us about any bruises, or how she might have acquired them. That move would have been way too overt. A moderately thoughtful poet might have stopped there, but Carl went further and chose even to eschew a simile, a direct comparison. Her powers of observation and word choice true her imagery nonetheless.

I read deeply into these things because I’m a poet and a reader of poetry, and that’s how I read, but some poems beg for deep readings more than others. Melissa’s poems beg. They beg to be combed through. The deeper you go, the more evidence of thoughtful choices and purposeful layering you see, like finding a lovely silk floral lining inside a vintage leather jacket. You get both edge and beauty, plus the thrill of discovery.

I highly recommend you purchase and read “Brutal Allure.” Melissa Carl is a dedicated, accomplished and meticulous poet with a strong voice and an intriguing preoccupation with the psyche, both her own and the psyche of humanity at large.

Heads up: Culture & Main has moved to a new night and time. Check out new episodes 8 p.m. Thursdays (previously 7:30 p.m. Wednesdays) at WRCT Ch. 18 in York or streaming live at wrct.tv.

What did you think of episode 13?

One of my first poetry contacts in this area was Carol Clark Williams. We had a nice conversation a year ago (really, has it been a year?) about some of her favorite writers, books, groups and all the things that make York’s poetry scene unique and exciting. I revisited that conversation and realize I now recognize at lot more names and titles.

I thought, now that National Poetry Month has ended — I swear, that’s the last time I’ll type that phrase for 11 months  or so — and all its poetry-writing projects are over, there might be some out there who still want some guidance and structure. Maybe you want to finish some promising pieces begun during NaPoMo, or maybe you just miss the sense of community that the month of April impresses upon poets.

Let Carol Clark Williams tell you all about Poetry Spoken Here:

Q. How long has Poetry Spoken Here existed?

A. Poetry Spoken Here is one of the longest-running poetry venues in the York Area. It began with Lynn Fetterolf‘s Live Poets’ Society readings at Borders. At her retirement the poetry group was taken over by various people, including a core group of five co-hosts, until Borders closed. We then moved to YorkArts’ City Arts Studio at 118 W. Philadelphia St., York. We still meet on the first Monday of every month at 7:30 p.m.

Q. Tell us about a typical gathering. How many people usually attend, and what is the range in skill level? What’s the ratio of returning poets versus first-timers? What’s the format of the sessions?

A. The group was originally aimed at performance poetry — featured and open readings. From the seeds of this venue, poetry reading groups sprang up in York on almost every night of the week. The current poet laureate, Carla Christopher, has a Facebook page listing all the poetry events. Tyler Barton offers a calendar of poetic events.

When I took over hosting Poetry Spoken Here again in March, I figured that people who wished to read poetry had many other outlets. My first love is writing, followed by workshopping, so my gathering has officially become a workshop venue. We discuss poems as writing prompts, do several written responses to what we have talked about, and then share the work we have produced.

We average eight to 12 adults, and most of us have achieved some form of recognition, either through poetry contests like the Yorkfest Literary Competition or the National Federation of State Poetry Societies, or through print and online publications. New voices are very, very welcome. Anyone with a sincere interest in writing and poetry should drop in and see how it goes. High school students and college students who want to experiment with poetry can find opportunities for expression, and there are excellent mentors in the group.

Q. Is the focus of the workshops about community-building with local writers, or becoming a better poet, or both? What do you hope people take from a session?

A. There are four functions of language. The fourth function is the poetic function, and its purpose is pleasure. My focus is providing space and time to write. I want my group to have a time-out from the daily routine where members can experiment with language, express ideas and share knowledge. And I want them to have fun doing that, the intense fun that comes from utilizing your talent and stretching your concept of art.

Julia Cameron (“The Artist’s Way”), Kim Addonizio (“Ordinary Genius”) and most other established poets stress the need for aspiring writers to write at least half an hour a day. I offer two hours devoted to writing.

As an additional incentive, there is always coffee, and most times, doughnuts!

Thanks, Carol!

The next meeting of Poetry Spoken Here is 7:30 p.m. June 3 at City Arts Studio, 118 W. Philadelphia St., York.

Have you ever, or do you plan to attend Poetry Spoken Here?

Attend “Prose & Poetry,” a special art exhibit that explores the intersection of the written and the visual, June 2 through July 6 at the York Art Association’s Nancy M. Woodward Gallery, 220 S. Marshall St., York.

According to the York Art Association’s Facebook page, “Each artist that enters a work in the exhibit will also be asked to provide an artist’s statement that refers to the prose or poetry that inspired the work. It can relate to a particular work of art or to your work in general. The statements will be available in a binder in the gallery during the exhibit.”

Both York Art Association members and the community at large are invited to submit one creation each, for a $10 entry fee. Hurry and send yours because only the first 100 submissions will be eligible for awards, which are as follows:

Best of Show = $150

Professional Category
1st Place = $100
2nd Place = $75
3rd Place = $50

Non-Professional Category
1st Place = $100
2nd Place = $75
3rd Place = $50

Intake dates are 9 a.m. to 3 p.m. May 23-24 and 9 a.m. to noon May 25.

A poetry reading featuring local poets, including York Poet Laureate Carla Christopher, will kick off the event 2 p.m. June 2 in the gallery. First vice president of the YAA board Dan Walczyk said that a salon-style, improvisational writing event using the exhibited art is planned for later in June.

Museum hours are 9 a.m. to 3 p.m. Monday through Friday and 9 a.m. to noon Saturday.

The York Art Association is a partner of the Cultural Alliance of York County. Visit www.yorkartassociation.org for details, an entry form and member ship information.

In fact, the point of Jawstruck! is to present poetry so real and moving that it leaves you picking your jaw up off the floor, as if either after a sucker punch or an unexpected kiss.

You don’t want to miss the second annual Jawstruck! Spoken Word and Performance Festival, 7 to 9:30 p.m. June 7 at the York Emporium, 343 W. Market St., York.

I can’t tell you who’s reading yet because readers will be selected from emailed submissions — though you still have time to enter.

York’s Poet Laureate and the chair of Jawstruck!, Carla Christopher, and judges will select from a pool of submissions in two categories, junior/teen and adult. Those selected will read in the festival June 7, when judges will pick a performance winner as well.

According to the June First Friday — Jawstruck! Facebook page, the guidelines are as follows:

Send a sample poem, YouTube video or web clip to poetrywarrior@gmail.com by May 15th. Also enclose your name, your performance name if you have one, and your category (teen OR adult). The creators of the top 5 entries will be contacted by May 20th. To enter, you MUST be available to perform at the June 7th show. Poems do not have to be memorized. Poems must not be derogatory, violent or contain “hard” curse words.

Update: Carla extended that deadline to May 20, so get those entries emailed!

Between taping and editing episodes of Culture & Main, Carla answered a few questions about this year’s Jawstruck:

Q. So, this is the second year for Jawstruck!. What’s different in 2013? Are there any lessons learned from last year, either things that worked really well and you knew you wanted to do them again, or things you wanted to improve upon? 

A. Of course, since it’s the American way, we want Jawstruck! 2013 to be bigger, better and more fun than year one, and that is going to be a tough act to top. Last year, no one knew what to expect, including me, but it’s clear that the idea of spoken word and performance-oriented poetry has fans. Poetry that is accessible, family-friendly, exciting, emotional and thrilling … I want this to be a show, not just an event.

We have more ensembles coming this year, like the JuJu Babies, a family of mini-spoken word and musical artists.

We are also placing more emphasis on our competition entrants this year because the skill level has JUMPED for entries! We want to give them a real chance to show off.

Last year, I loved the diversity of the performers and judges and I want that again this year, too. Great performed poetry knows no race, no gender, no age. I just want even more people to know about Jawstruck! this year, to come out and get excited about it, to be willing to share. I am even going to see if we can work an open mic section into the night in case someone in the audience gets inspired!

Q. Speaking personally as both a judge and a member of the audience, what kinds of poetry are likely to catch your eye on the page as an entry, or move you on stage at the performance?

A. Polish is nice, but it doesn’t win me over like heart does. I want to feel genuine passion, emotion, excitement, intensity and heart! I also look for creativity. There may be only so many emotions or experiences in the world but to make people really HEAR them and feel them, the writer needs to find a new way to get those ideas across. Use unexpected words or metaphors, have a different perspective or take on a situation or idea, put a surprise twist at the end … anything that will catch me off guard.

Q. Poets, especially those who know you and the York Emporium and attended this event last year, will come out for this. What do you want to say, by way of a pitch for their attendance, to anyone who might be out and about in York City on June’s First Friday, but not necessarily planning to make their way over to the Emporium?

A. Who doesn’t want to have fun, to have a great night of something different and unexpected but a guaranteed good time? The fabulousness of Jawstruck! is that it’s sassy enough to keep adults entertained, but it’s also an event you can bring your family to. It’s stimulating for accomplished performers and poets but accessible to non- or new poets. It’s an event where absolutely any group of people can be in the same place and all have a great night. How rare is that? Plus, it’s FREE! You can’t beat that! Nothing to lose and everything to gain!

Will you attend this year’s Jawstruck! festival?

What did you think of episode 12?