Some books, no matter how awesome they are, just won’t be a hit with the big six New York publishers. The bigger the publisher, the bigger they want their profits to be.

But some books that won’t hit national best seller lists might become local or regional faves. Just [...]]]> Some books, no matter how awesome they are, just won’t be a hit with the big six New York publishers. The bigger the publisher, the bigger they want their profits to be.

But some books that won’t hit national best seller lists might become local or regional faves. Just because major publishers aren’t seeing dollar signs, it doesn’t mean the signs aren’t there!

Here are just a few types of books—there are many more—that may be especially well-suited to self-publishing. (NOTE: Often, independent presses are open to alternative books too.)

Seven Book Types That Were “Born” For Self-Publishing

Projects of alternative lengths. A publisher might say there’s no market for your 30,000-word memoir or your 150,000-word novel. But that doesn’t mean you can’t create a market for it if you’ve got the excitement and drive. Read more: The rules of genre fiction books.

Regional market books. Are you really into hiking trails in a specific region? Or maybe the folklore surrounding a certain river? Or the best restaurants for romance in a given city? Tapping into a region’s “branding” is a great way to sell books in that region (and beyond). And while international publishers might not be ready to publish a book that won’t sell outside of a certain region, many local book stores, libraries, and tourist spots are willing to carry self-published books about relevant topics.

Niche market books. Perhaps you’d like to turn your blog about having a very rare illness into a book in order to help people who  are in your situation. Self-publishing is a great way to do that. Maybe your audience isn’t huge, but it’s important. Or maybe you’re a vegan creating a book of low-carb slow cooker recipes. Again, not a huge market. But if that’s something you’re into anyway, why not publish a book? You’re probably not alone, and there’s a group of people out there who may be waiting for a book like yours to come along.

Stories that need to be told. Sometimes, having a story that’s burning to be told is enough of a reason to self-publish. Perhaps you want to share and preserve the story of how your grandfather survived a decisive battle in World War II in an unusual way. Perhaps you want to set the record straight about an unknown element of a high profile court case that has personal meaning to you. Even if big publishers aren’t interested, self-publishing can lead to emotional (and possibly financial) reward. Read more: Is it worth your time to write a memoir?

Mixed genre collections. Books that are combinations of poems, stories, essays, etc., often stump big publishers because they’re not easy to market with pinpoint accuracy. Self-publishing might be a great alternative.

Poetry collections. So few big publishers are putting out poetry collections by a single author. These days, there are various alternative methods to get a poetry collection published. Self-publishing is a viable option, especially if you’re hoping to sell copies at your open mike and library readings. Tip: Before you publish, know the current industry etiquette regarding previously published writing.

Books that don’t play to trends. Just because a book doesn’t feel fresh and trendy to a publisher, doesn’t mean it’s not relevant. For example, according to this article, Lionel Shriver’s book The New Republic was passed over by publishers in 1998 because of its angle (a satire on terrorism and journalism, among other things). In the mid-2000s, the book’s ironic voice was out of fashion and the topic was taboo.

Finally, in 2012, the book was published—but by then, many reviewers dubbed it a bit antiquated and out-of-touch. We wonder if the book would have been received differently if the author had chosen to self-publish it when it was completed.

Of course, these are just a few of the kinds of books that can do especially well in the self-publishing market. The sky’s the limit! If you’re not sure if you’re ready to self-publish, take our self-publishing self-test.

QUESTION: Have you ever bought a self-published book?

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Meet Prairie Schooner, an awesome lit mag that has been publishing since 1926! In addition to a fabulous print edition, Prairie Schooner also has Web-only features, a fancy new website, and a super cool podcast, Air Schooner.

Check out this great journal to read the best fiction, [...]]]> Meet Prairie Schooner, an awesome lit mag that has been publishing since 1926! In addition to a fabulous print edition, Prairie Schooner also has Web-only features, a fancy new website, and a super cool podcast, Air Schooner.

Check out this great journal to read the best fiction, poetry, essays, and reviews being published today by beginning, mid-career, and established writers.

CONTEST! Leave a comment by May 17 to enter to win a free Prairie Schooner T-shirt!

1.        Give us the lowdown on your journal’s mission.

Called by Bill Henderson, editor of the Pushcart Prize anthology, “a granddaddy of them all,” Prairie Schooner has been around for more than 85 years. We publish the best stories, poems, essays, and book reviews by established and up-and-coming writers. Our new Editor-in-Chief Kwame Dawes is excited by unique writing from American and international authors of all aesthetics.

2.       Describe your ideal submission in 15 words or less.

It makes us jump up, grab the nearest person, and shout, “You’ve gotta read this!”

3.       Tell us about a piece you recently published that got the staff really excited. Why did you love it? Why did it strike a chord? Can readers find it online?

In our Winter 2011 Special Irish Issue, we published a poem by Irish author Patrick Toland called “How to Eat a Quince.” The few staff members who read it before it was published knew it was wonderful, but once it was published we received so many compliments! Our senior readers voted that Toland should receive one of our annual awards; our Editor-in-Chief Kwame Dawes nominated the poem for a Pushcart Prize; and months later at an Irish conference a writer approached us to gush about the poem. Read it here!

4.       Regarding submissions: What’s the most common turn-off that you encounter (in terms of craft)?

Writing that is pretentious and self-congratulatory.

5.       What’s the most common oversight (in terms of submission guidelines)?

Some writers simultaneously submit (which we discourage) and fail to notify us when a piece is taken elsewhere; it’s always disappointing to let go of a story, poem, essay, or review that we love.

6.       Where can readers find your submission guidelines?

You can find them here.

7.         Why is your journal awesome?

Let us count the ways! Our new Editor-in-Chief Kwame Dawes is always brainstorming how to make Prairie Schooner even more terrific. This January, we launched a new website and introduced a podcast series called Air Schooner (check it out on iTunes!), a quirky and informative poetry column called Poetry News in Review, and Fusion, online collaborations with other journals based on themes (work, food, home, etc.) that feature archived poetry from both journals as well as visual art from local artists.

Starting with our Winter 2011 Irish issue, each winter issue of Prairie Schooner will be internationally themed; Sherman Alexie will guest-edit our Winter 2012 Native American issue. Next year at AWP 2013 we’ll debut an app for smart phones, and starting with our Summer 2012 issue, our print journal will be available to read on Kindle! This summer is also exciting because it marks our first creative nonfiction essay contest; submissions open for this May 2 and close August 31. All of these initiatives speak back to the energy and diversity of Prairie Schooner.

Check out Prairie Schooner on Facebook and Twitter (@TheSchooner)!

Leave a comment by May 17 and enter to win a free T-shirt from Prairie Schooner.

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All writers can produce clunkers. Novelists have done it, short story writers have done it, poets have done it, and even car-naming “authors” have done it. Yes, Chevrolet’s old Nova didn’t sell well in Spanish-speaking countries with a name that translates to “doesn’t go”!

But sometimes, a book that is regarded [...]]]> All writers can produce clunkers. Novelists have done it, short story writers have done it, poets have done it, and even car-naming “authors” have done it. Yes, Chevrolet’s old Nova didn’t sell well in Spanish-speaking countries with a name that translates to “doesn’t go”!

But sometimes, a book that is regarded as a clunker when it first comes out goes on to be revered and appreciated. Here are just a few books that were subjected to some terrible reviews when they came out. “Clunker” is in the eye of the beholder!

Wuthering Heights by Emily Bronte: Wuthering Heights, that angst-filled classic, was not unanimously loved. Charlotte Bronte wrote an introduction to a later edition of the book that makes no bones about needing to defend the novel against its critics. Reviewers claimed the characters were vulgar and incredible. The story was deemed wild, out of control. These days? Emily’s book is regarded as a breathtaking, moody work that is loved for the very reasons early critics hated it.

Moby Dick by Herman Melville: Melville’s whale of a tale was a flop in his time. Though its characters speared whales for lamp oil, many of the author’s peers much preferred to read by the light of its burning pages. The book was on the market for forty years and sold only a few thousand copies. These days? Even if you haven’t tackled the tome, you know that “Call me Ishmael” is a household phrase.

Leaves of Grass by Walt Whitman: Our boy Walt really hit on something with his long ramble of free verse that celebrates the human spirit… And as far as some of his first critics were concerned, the thing he hit on was a perfect lack of good taste. Whitman’s poetry was revolutionary when his book hit the shelves, and it was also misunderstood. These days? Leaves of Grass is required reading that marks a moment of shifting cultural and poetic values.

Lolita by Vladimir Nabokov: Lolita has always been a controversial novel, and for good reason! It was initially passed over by American publishers before the author decided to seek publication in France. The book got off to a stormy start. Badly presented (the book was allegedly full of typos and didn’t have much of its publisher’s support), Lolita was reviled and even banned. But when it hit the shelves in America, it only took a few days before the book was into its third printing. These days? Lolita will always be a difficult book, but it’s been named to many “best books ever” lists.

Emily Dickinson’s poetry: This beloved American poet published fewer than two dozen poems during her lifetime, so she doesn’t get a book title on our list. Her first collection wasn’t published until after her death. During her lifetime, her poetic ideas were not only questioned but belittled. Some early readers of her poetry adored it, but many found her poems to be off-putting and not-poem-like (because it isn’t a poem if it doesn’t rhyme, right?). It wasn’t until the twentieth century that readers and critics began to appreciate her as a modern poet.

All this reminds us of a joke that gets passed around in writing groups:

Q: How many critics does it take to change a light bulb?

A: Critics can’t change a light bulb. But they’ll watch you do it and tell you a hundred things you could have done better.

So next time you’re sitting in your critique group listening to people bash your book, remember that even the most well-known authors were sometimes panned!

But What About Books That Really ARE Clunkers?

Sometimes, even great writers pen crummy books. It happens. It should happen. The difference between a bad writer and a good writer is that a good writer knows what to throw out before the public reads it.

Clunkers are a natural part of the writing life. Some experiments don’t succeed, and that’s nothing to be ashamed of! Writers should take risks, should go out on a limb, should break new ground—even at the expense of being ridiculed.

But if critics can’t tell whether or not your clunker is a masterpiece, how can you?

How To Spot A Clunker Or A Literary Lemon

• Trust your instincts. You often know in your heart of hearts when you haven’t done your best work.

• Spend time apart. It can be hard to see a clunker if you’re not emotionally distant from the work. So it’s good practice to get away from a project for a while and then come back to it with new eyes.

• Get feedback. Listen to honest critiques from friends, your writing group, and, most importantly, from professionals. Remember that the level of critique you receive is usually on par with the level of the writer giving it. Being critiqued by a person who has published a handful of stories is different than being critiqued by a successful veteran who writes in your genre. Your family, friends, and fellow critique-session attendees might mean well, but also might be a bit too gentle.

What To Do With Your Clunker

• Save the best parts for possible use in future projects.

• Sit down and make a list—thorough and honest—of the project’s weaknesses. Seeing weak points on paper means you can’t ignore them or let your subconscious mind “forget” them. Better work will result!

• If you do publish a clunker, accept the results with grace—whether the response is good or bad.

The Importance of Clunking

Don’t let fear of writing a clunker hold you back or hinder your creativity. In some circles, writers refer to what’s called “MFA-type writing.” This is writing that’s solid, articulate, and interesting…but also safe, a little dull, and at its deepest levels lacking in some essential passion or drive. It’s said that this type of writing is born from students who are trying to win over their workshop peers and avoid criticism.

In other words, taking risks is key to success. An occasional clunker can be good for the writer’s soul—and the world!

QUESTION: Have you ever written a clunker? (You can admit it; we won’t tell anyone!) If so, how did you deal with that? What did you learn?

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It’s nearly Cinco de Mayo!

Even if you’re not of Mexican heritage, you can still celebrate!

Writers: Here’s a list of the key phrases in a writer’s life—in Spanish. And, actually, we think they might sound better in Spanish. Why not try them out today?

¿Qué quiere decir que Oprah no se llevará a mi llamada?

(What do [...]]]> It’s nearly Cinco de Mayo!

Even if you’re not of Mexican heritage, you can still celebrate!

Writers: Here’s a list of the key phrases in a writer’s life—in Spanish. And, actually, we think they might sound better in Spanish. Why not try them out today?

¿Qué quiere decir que Oprah no se llevará a mi llamada?

(What do you mean Oprah won’t take my call?)

¿Quieres escuchar mi discurso del ascensor?

(Want to hear my elevator pitch?)

No, mi libro no contiene los vampiros.

(No, my book doesn’t contain vampires.)

Discúlpame mientras asiento con la cabeza cortésmente y pretende reconocer el nombre de su agente.

(Excuse me while I nod politely and pretend to recognize your agent’s name.)

Haga el mío un doble.

(Make mine a double.)

No, no he leído 50 Shades of Grey.

(No, I haven’t read 50 Shades of Grey.)

Hola, quisiera saber si usted ha leído mi manuscrito.

(Hi, I’m following up to see if you read my manuscript.)

Hola, quisiera saber si usted ha leído mi manuscrito.

(Hi, I’m following up to see if you read my manuscript.)

Hola, quisiera saber si usted ha leído mi manuscrito.

(Hi, I’m following up to see if you read my manuscript.)

Repeat above as needed.

Cafeína, por favor.

(Caffeinated, please.)

Leeré por la comida.

(Will read for food.)

List of Mexican-American Writers

We’ve also compiled a list of just a very few of the fantastic Mexican-American writers who have made important contributions to American literature. Consider this your Cinco de Mayo pinata—only it’s filled with poetry and prose instead of gum and lollipops. Sweet!

Rudolfo Anaya – Considered a “founder” of the canon, may be best known for Bless Me, Ultima, a coming-of-age novel set in rural New Mexico.

Oscar Zeta Acosta – Pals with Hunter S. Thompson and supposedly an influence on Fear and Loathing in Las Vegas, this novelist was also a vocal activist lawyer until he vanished in 1974.

Sandra Cisneros – The House on Mango Street blew readers away with fascinating voice and perspective, heartbreaking emotion, and flavors of bilingual experience.

Josefina Niggli – Her book Mexican Village was said to be one of the first books to reach the general reading public (in 1945).

Gary Soto – The Elements of San Joaquin, the author’s first poetry collection, features poems that focus on daily experiences of life and culture. We have to mention this Joyce Carol Oates quote: “Gary Soto’s poems are fast, funny, heartening, and achingly believable, like Polaroid love letters, or snatches of music heard out of a passing car; patches of beauty like patches of sunlight; the very pulse of a life.”

Luís Alberto Urrea  – The Hummingbird’s Daughter dazzled readers with the larger-than-life true story of the author’s aunt, a healer who sat up and spoke at her own funeral, among other astounding things.

Luis Valdez – His play Zoot Suit in 1978 Los Angeles was a hit. It kicked off his career and led him down a path that included directing the movie La Bamba, about rocker Ritchie Valens.

 QUESTION: Which phrases, and writers, did we miss? 

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This week, the spotlight is on Phyllis Carol Agins and her short story, “The Cradle,” published first in Pearl and republished in Schuylkill Valley Journal.

Q: What inspired you to write “The Cradle”?

So many of my ideas come to me when I visit Nice, France, where I spend long summers along the azure and [...]]]> This week, the spotlight is on Phyllis Carol Agins and her short story, “The Cradle,” published first in Pearl and republished in Schuylkill Valley Journal.

Q: What inspired you to write “The Cradle”?

So many of my ideas come to me when I visit Nice, France, where I spend long summers along the azure and turquoise Mediterranean. I can’t answer why I’m so fertile there. Perhaps it is simply that my senses are teased by the wine and food, by the always-golden light, by the overheard conversations in so many different tourist languages. In Nice, I always find new ideas.

“The Cradle” started when a friend wanted to purchase a sea-view apartment from a woman’s family. All I knew was that she had recently died. The details were for me, the writer, to complete.

I’ve often foolishly thought it is impossible to be sad or even sick when living in such a beautiful place. But, of course, that is my own magic thinking. The woman in “The Cradle” exits life in her own fashion and with a kind of bravery that surprised even me, the writer.

Q: How long did it take you to write it?

My short pieces, bits of flash fiction, come to me just that way.  In a burst of an idea that irritates me until I quickly write it down, almost without thought, and certainly, without censorship. “The Cradle” was first written while I lay on the very stones that welcome my character.  My hands were in the air above me, and I was praying I could write quickly enough before the idea deserted me. And that I’d be able to read what I’d written later.

The “flash” is always the first step. But, for me, the best is revision. I adore changing my mind, moving pieces of sentences from here to there, turning a word around and finding another until that word, even that comma, is exactly where it needs to be.  Once a day I will visit the story, even for a month or two, until I am satisfied.  And that’s for a tale under 1,000 words! When I taught university students, I would insist that revision truly made the writing.  And I’ll never change my mind.

An excerpt of “The Cradle”:

“Stop her,” we are all crying at the same time.

“Where’s her daughter?”

“For God’s sake, call an ambulance!”

Everyone has something to add, but no one acts.

By the time she takes the stairs and leaves the building, 15 of us, her neighbors, have gathered. We’ve always followed her with our eyes, spurred on by that mixture of envy and admiration. But this time, we walk slowly behind her, now silent, as if we’re afraid to break into her trance. She doesn’t see us. There’s not even that little wave of the hand she usually offers as she walks by. Not even the smallest nod of her head. No acknowledgment that she knows we are here, the expat community that has adopted the Côte d’Azur as its home.

She was a beauty even 20 years ago at 65 when she first moved to this marina on the Mediterranean coast. Once she explained. The sea called her with a voice full of birdsong and ship-soundings, and even with the occasional dolphin’s laugh. She had decided to throw away the land where she’d toiled long enough, collect her retirement and her dead husband’s money. It was by the blue-milk sea that she belonged.

To read the complete work, visit Schuylkill Valley Journal, or check out her website, www.PhyllisCarolAgins.com.

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On first glance, self-publishing a book can seem like the best way to get a book into print. And sometimes, it is. But in the publishing industry, it’s always important to look before you leap. And so we’ve devised a series of questions that authors should ask [...]]]>
On first glance, self-publishing a book can seem like the best way to get a book into print. And sometimes, it is. But in the publishing industry, it’s always important to look before you leap. And so we’ve devised a series of questions that authors should ask themselves before taking the plunge into self-publishing.

Self-Publishing Your Book: Are You Ready?

Question 1: Do I believe my book is suitable for traditional, advance/royalty-paying publication?

If you’ve studied the market and assessed your competition (as opposed to just having a vague idea about it) and you believe that your book has a chance at finding a home with a traditional publisher, then you may want to hold off on self-publishing. Rule out the traditional route first. Keep reading to learn why.

Question 2: Have I made a good effort to get an agent/book deal?

Some writers will send six query letters to literary agents, then decide they’re hopeless. Others will send a dozen. At Writer’s Relief, we recommend authors try between 75 and 100 markets before reassessing their situation. (More than once, we’ve seen that 99th query letter get results.)

If your book has a chance at making the big leagues, we recommend you try that first, before exploring self-publishing. It can sometimes (but not always) be difficult to transition from self-publishing to traditional publishing.

Question 3: Do I have the right attitude to self-publish?  

If the idea of self-publishing your book is exciting to you, then proceed. You’ll need lots of good energy and motivation to give your self-published book the launch it needs.

If the thought of self-publishing leaves you feeling disappointed, you might want to do some soul-searching before you fork over your funds. Maybe an intense round of revision, networking with people in the biz (at conferences and other events), and an increased focus on craft might be a more joyful way of reaching your publishing goals. Every writer makes his/her own path toward a personal idea of success.

The trick is to follow your heart. If the idea of self-publishing sends a little tingle of optimism up your spine, it’s a good sign you’re heading in the right direction.

Question 4: Do I know what to expect from the self-publishing process?

Many people self-publish with dreams of hitting it big. We’ve all heard stories about self-published books by no-name writers that shook up the best-seller lists (Amanda Hocking, anyone?). But the chances of that happening are about the same as hitting the lottery or being struck by lightning (for the most part). For every one self-published book that you actually hear about via national media coverage, there are tens of thousands that you don’t.

Self-publishing companies report varying numbers, but we’ve heard the average number of self-published books an author might sell is a few hundred, at most. That said, some self-published books will sell into the thousands. It all depends on the strength of the author’s platform and personal networks. It also, of course, depends on the strength of the book.

Question 5: Do I have an appropriate book marketing plan?

Making your book available on the Barnes & Noble website won’t make you a star. How will anyone know it’s there?

Self-publishing goes hand in hand with self-promotion. And that means: blogging, tweeting, Facebooking, book-touring, meeting people, giving stuff away as promotion, advertising, etc. If you’re a go-getter with a clear vision, your advertising dollars might convert into sales.

If you’re not really into self-promotion, that’s entirely okay. There’s nothing “wrong” with selling your book on a few websites and leaving it to chance. Just be emotionally prepared: Expect the worst but hope for the best.

Question 6: Do I have a good support system?

Your self-publisher’s primary job is to design and print your book—and that’s pretty much it (depending on what kind of package you buy). If you have a question about how to land a speaking gig at a library or whom to turn to for Twitter advice, it’s not your publisher’s responsibility to answer.

Few professional book authors go it alone. They have a team of people to help answer questions, make decisions, and offer encouragement. As a self-published writer, it’s a good idea to join a network of people who are trying to do the same thing you’re doing. Ask your family and friends for help. Join an organization of writers. Hop on a forum. Swap ideas. Find out the best places to advertise, the best places to avoid. Enthusiasm is contagious. You’ll learn lots and have fun.

Question 7: Do I have a plan that matches my budget?

There are two big up-front costs to self-publishing:

1. The cost of paying the company that will create your book.
2. The cost of advertising, marketing, and publicity.

Ask a lot of questions when you sign with a self-publishing company. Some will seem to be very cheap when a writer signs up, but then authors will pay nearly full price for their actual books (and/or will be required to purchase a certain number of books), leaving no room for the author’s mark-up (and no room for profit). Some self-publishing services will cost a bit more up front, but then will have lower printing costs (so that authors make more money per sale).

After your book is ready, it’s time to promote. Having a big budget for promotion can certainly help get the word out about your book. Some authors “pay” for promotion with their time spent on free social media sites. Getting out there and promoting should be a big part of your plan if you’re hoping to make some strong sales.

But remember, all the money or promo in the world won’t be able to create a best seller if the book itself does not capture the public’s attention in some way. Word of mouth is a very powerful form of promotion—if not THE most powerful form. But it’s also the element that writers have very little control over. There’s just no telling what will (and will not) catch on.

If your book does well, there’s a chance you’ll recover your investment or even make a profit. Self-publishing can be very rewarding for your wallet and your soul.

QUESTION: What self-test questions have we missed? What do you recommend writers ask themselves before self-publishing? 

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Today we thought it might be helpful to compile a blog post that answers common questions we’re asked about submitting poetry in groups. If you’re wondering how to choose the right poems to submit to a literary journal, how many to include, and how to increase your chances of publication, read on!

As always, be [...]]]> Today we thought it might be helpful to compile a blog post that answers common questions we’re asked about submitting poetry in groups. If you’re wondering how to choose the right poems to submit to a literary journal, how many to include, and how to increase your chances of publication, read on!

As always, be sure to read (and follow) an individual literary journal’s guidelines when submitting your poems to an editor. The tips we offer below are suggestions, not rules.

How many poems should I include in a single submission?

Generally, literary journals ask their writers to submit between three and five poems in one submission. Few journals will accept more than ten pages of poetry in one submission. That said, the number of poems you need can vary. So read the guidelines.

Can I submit just one poem at a time?

If you only have one poem and you have very strong reasons for feeling that your one poem would be a perfect fit at a journal but none of your other poems would be, you might want to explain that in your cover letter.

If you only have one poem to submit because you’ve only ever written one poem in your life, you might not want to wait until you have some more poems under your belt.

An editor may be willing to consider your solitary poem if you give him/her a good reason.

Should I group related poems? Or poems that stand alone?

There are no best practices in terms of whether to submit poems that stand alone or poems that are thematically related. But there are pros and cons. We can list them for you below to help you make a decision.

Submitting related poems – The pros

• If an editor likes your voice, he/she may choose to print all of the poems because they’re related.
• Long poems that are broken down into many parts can be very compelling. They can demonstrate a big vision.
• If the poems are about a specific topic (like food), you can submit the group to a journal that focuses on theme (like Gastronomica).

Submitting related poems – The cons

• If an editor chooses only one poem of your related poems, he/she might “break” the flow of the complete series and also leave the other poems orphaned if they can’t stand alone.
• If an editor doesn’t dig your voice or theme, you’re sunk…because all the poems are related and possibly sound the same.
• Generally, it’s easier to get shorter poems published than longer poems. Editors tend to favor one-page poems.

Submitting stand-alone poems – The pros

• Show off your diversity. If an editor doesn’t like one poem, it’s okay because there are others that are different.
• Shorter poems are more likely to be published (less than one-page is best).
• With five unrelated poems you might have a better shot at seeing at least one of them published than with five related poems that can’t be separated.

Submitting stand-alone poems – The cons

• If an editor really loves one of your poems for its unique qualities, there’s less of a chance he/she will really love the others, which will be quite different.
• You may need to research a greater number of markets in order to the find just the right homes for all of your individual poems.
• You’ll have limited ability to submit to theme issues, since only some poems will be appropriate for submission.
• Even if you’re not grouping by theme, you probably wouldn’t want your kid-friendly rhyme mixed in with your edgy adult free verse.

Do you have any questions about poetry submissions? Just ask!

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This week, the spotlight is on Jean Howard and her poem, “Fruit Fly,” published first in Painted Bride Quarterly.

Q: What inspired you to write “Fruit Fly”?

I wrote “Fruit Fly” while having lunch on the cafe terrace of MOMA (Museum of Modern Art) in New York.  I was working in New York and, [...]]]> This week, the spotlight is on Jean Howard and her poem, “Fruit Fly,” published first in Painted Bride Quarterly.

Q: What inspired you to write “Fruit Fly”?

I wrote “Fruit Fly” while having lunch on the cafe terrace of MOMA (Museum of Modern Art) in New York.  I was working in New York and, as a treat, I took a long luxurious lunch, after taking the time to view the newest exhibit. By the second course, the fruit fly appeared and became my companion until the last sip of wine.

“Fruit Fly”
—MOMA — NYC

Fat, little BB
of motion,
of minute flight,
weaving prayers
above sugar,
an open mouth
of wine and lemon
wedge.

Dreaming lazily
of summer,
its orchards
ripe and aching,
abstractions of fruit
at sun-cut angles.

Here you dip
toward watermelon,
haystacked with straws
of jicama,
then swerve
toward bleeding fig.

My thoughts go
out to you,
lured by the melody
of ruby flesh
and vinegar.
New York swirling
hot and restless
beyond my table,

I stab into a raspberry.
You’ll drown,
I’m sure,
in blanc de noirs.

You can also read Jean’s poetry in Painted Bride Quarterly, Issue 83, and on her website www.JeanCHoward.com.

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Authors have long been a driving force behind environmental consciousness (think Henry David Thoreau, George Perkins Marsh, Rachel Carson, Aldo Leopold), using the power of words and the force of their convictions to broaden awareness and push for change.

As writers, you can get in on the action too! Here’s how…

In honor of Earth Day (April 22), we wanted to take a moment to post some information about the Green Press Initiative, a group that fights for good use of resources in the publishing industry.

According to the Green Press Initiative:

The U.S. book [...]]]>

In honor of Earth Day (April 22), we wanted to take a moment to post some information about the Green Press Initiative, a group that fights for good use of resources in the publishing industry.

According to the Green Press Initiative:

The U.S. book and newspaper industries combined require the harvest of over 120 million trees each year and emit over 40 million metric tons of C02 annually; equivalent to the annual CO2 emissions of 7.3 million cars.

People who read and write regularly about the world around them will often find themselves writing about their environments. The Green Press Initiative calls on writers, publishers, and booksellers to work toward a more environmentally conscious publishing industry.

According to their Facebook page:

Green Press Initiative’s work has helped to bring about a sixfold increase in recycled fiber use in the U.S. book industry—that’s a reduction of over 1.4 million tons of greenhouse gas emissions and nearly 3 million trees per year!

Do you want to get involved? Check out their website today.

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