Category: Writing

Books/

Pre half-term round-up: submissions, events, other writing

October is my favourite month, partly because it’s the start of the run-up to Christmas with all sorts of musical things to come, before then of course Bonfire Night in Lewes – always an annual high point. Plus I have a birthday, and it’s generally a time for a stock-take and a bit of ‘where am I in my life?’ internal Q & A. I’ll spare you the full depths of the navel-gazing, but here are some of the projects occupying me at the moment:

Writing/submissions etc – not much to report, I haven’t given much time to writing in recent weeks, sadly, but I’m not stressing about it. In anticipation of one or two rejections which I believe are due in the next month, I sent out a few poems last week – I’m trying Ambit again, although I swore not to – can’t get out of my head the idea that I have stuff that belongs there. As regards lost submissions (one of the issues that plagues me) – for those publications that still require postal submissions I’ve taken to enclosing a stamped addressed postcard which just says ‘poems safely received at XYZ magazine’ for the mag to post back to me – which seemed like a trouble-free way of acknowledging receipt. More publications are now using Submittable, which I really like, and I also don’t mind paying £1 to submit (eg to Iota). I’ve blogged before about this and the subsequent poll was split.

Last year I missed the deadline for the National Poetry Comp, so this year I’m determined to enter something at least. I’ve never done well in the big comps, but hey, who knows. As for the pamphlet competitions, I’m tempted to try Iota Shots again (deadline Nov 10th), as  I’ve tightened up my short themed pamphlet and think it might now stand a chance. But I don’t think I’ll be trying the Poetry Business comp, because I’m not sure I’ve got 20 good-enough poems, and that’s not a competition I want to enter half-cocked. Maybe next year.

Other writing – yesterday I got my hands on a preview copy of ‘Blogging for Writers’ which was very exciting. It’s going to be available in shops in a few weeks’ time, and I’m planning a blog tour – yee haa! More about this on the website in due course. Then ‘The Golden Rules of Blogging (and How to Break Them)’ is due out in March 2015, and there’s already been interest from some prominent bookshops in staging readings / Q & A sessions. Double yee-haa!

Also, I have an article on blogging to write for Poetry News – if you’re reading this and thinking “Hmm… I remember Robin asking me some questions for this many months ago..” then you’re not wrong – it’s that very same piece, but there was no room for it in the last edition, so it’s going to be either in the Winter or the Spring issue. I have to write this TODAY.

Telltale Press –  Peter and I have been given some hot tips for potential Telltale poets and we’re in the process of feeling our way in that direction. Slow steps but it’s happening – both Peter and I have a lot of stuff on at the moment but we’re determined not to lose the momentum of the launch events, which were such a lift.

Readings etc – this evening is the quarterly Needlewriters event here in Lewes, with readings from Sian Thomas and Liz Bahs (poetry) and Colin Bell (prose). I’ll be doing the introductions which will be fun, particularly as I know all three readers. Always a lovely local vibe, in a cafe just yards from my house – would be perfect if I could have a glass of wine but today being a Thursday it’s no alcohol. Boo!

Next month I’ll be reading at the Poetry Society AGM at the wonderful Keats House – which feels like a big deal!  Rumour has it I’ll be one of the support acts to Daljit Nagra … I’m now over the initial excitement and into the slightly nervous period. But I won’t be stressing about WHAT to read until nearer the time (I hope).

Meanwhile I’ve already booked tickets for the T S Eliot prize readings in January – 10% off if you book before November 1st! I’ve really enjoyed it the last couple of years, big thanks to poet friends Charlotte and Julia for introducing me to this event.

A few plans for this blog – I’ve got two wonderful poets lined up to feature in the next couple of weeks, plus plans for a regular ‘regional focus’ – I’m going to be poking my nose into what’s happening down your way, and reporting back. Poets, there’s nowhere to hide!

Courses/

Bring up the poems (are they dead or sleeping?)

As part of my autumn poetry reactivation plan (sounds good, eh?) I’ve signed up for an online course from the Poetry’s School with Karen McCarthy Woolf. It’s a feedback course for the ‘general improvement of left-for-dead poems in need of resuscitation’. This premise really appealed to me – having quite a few poems languishing at the moment, some of which I feel at the end of my editorial tether (with). (Apologies for the clumsy construction, but since I’m off duty while writing this I feel able to mush over any dodgy grammar or whatever. It’s the equivalent of pulling on a onesie and eating a takeaway while watching TV. I’m at home. Off duty.)

Putting Baby to Bed

Soooo … time to dust off some old pomes. While we’re on the subject, I should mention that I was pleased to find out that South have taken two poems of mine for their autumn issue, just when I’d thought they wouldn’t find a home. I did think I wasn’t going to submit to South again, but when it came to it I just felt those poems belonged there, so I’m glad the selectors felt the same. It’s an unusual setup there – no one editor, but a committee, of which (as far as I can tell) two or three people act as selectors for each issue. Although submissions are anonymous, there’s a distinctive consistency about the poems chosen. For example, my Lewes cohort Jeremy Page manages to have something in every single issue – what gives, JP?? – and other names too are ‘regulars’. The magazine doesn’t include poet biogs (which is a shame) but it does have a launch event for each issue (which is good).

Anyway, I digress – my question to you is, when do you leave a poem for dead? Is it ever actually ‘dead’, or just sleeping gently in a drawer until you bring it out for another airing? Do you have any good success stories about poems you resurrected after a long period of time? I’d love to hear them.

Angst/

On persistence, or, another submissions stock-take

Broken Giant sculpture

Being back early from our hols due to N spraining his ankle, I found I had a day ‘in hand’ and was strangely at a loss. Until I remembered I’d been waiting for such an opportunity (ie an unallocated day) to sit down and open the ‘poetry’ folder on my computer.

I find it hard to get into writing poetry after a break, until I’ve done all the preliminary activity – checking what I’ve got still out, what’s in the ‘almost ready-needs work’ pile, a quick flick through the ‘rejecteds’ to see if I’m moved to re-work any of them. Then there’s the catching up with all the blogs I’ve not read in a while. I might check on what submission deadlines are coming up, and decide whether to go for them. It feels a bit like circling in a plane before landing – checking the terrain, the wind speed, the ‘big picture’, waiting for the best moment to touchdown.

One blog post that really got me thinking was this from the ever-excellent Jeffrey Levine: On reading and reading fees – how things happen round here.  Jeffrey is the Editor-in-Chief of Tupelo Press, currently accepting pamphlet and full-length collection submissions, and this blog post addresses the issue of why they charge reading fees. Apparently some poets have questioned why a reading fee is charged every time a manuscript is submitted, even though it may be the exact same manuscript as previously sent. Personally I have no issue with this – I think if one expects one’s manuscript to be read and considered then it’s right to pay for the reader’s time, expertise and thoughtfulness. If you send the same manuscript again, you can’t expect it to either be read by the same person (necessarily), or even if it is, for that person to remember it from before.

But the article covers much more than that – Jeffrey goes into a lot of detail about how he reads and responds to manuscripts, and it’s fascinating. Apparently it’s not uncommon for poets to submit the same manuscript again and again – ‘virtually everything we’ve ever published has been submitted to us several times over, even by those you might think of as Tupelo’s “big names.”’ One of the reasons I created my own pamphlet was because I was convinced that submitting the same pamphlet (more or less) to the same publishers again and again (and having it rejected) was a useless exercise, and that if a reader came to recognise the same set of poems it would just reinforce a sense of that poet having nothing fresh to offer.

I guess this just shows how much I have to learn. As Jeffrey says: “Sometimes big revisions make a big difference. Sometimes small revisions make a big difference. Sometimes a fresh reading makes a big difference. Often, even subtle changes in the order of the poems makes a huge difference. And sometimes, between one submission period and the next, a poet has an epiphany about how to make his/her poems or manuscript work—something snaps into place and s/he just gets it…..Moreover, I am not the same reader every time I read a manuscript. My tastes evolve. My reactions aren’t predictable. Being human, my attention span varies. Being human, what makes me want to turn the pages one day may not work for me the next day.”

It got me thinking about my attitude to individual poems. Last year I did a rough stock-take of how many times I’d send out a poem before putting it away in the bottom drawer. It doesn’t show a lot of persistence. I tend to only persist with those I think have something. And yet I know full well that my own appraisal of a poem has no bearing whatsoever on whether it meets the approval of an editor or competition judge. It always puzzles me when editors say on their websites ‘send us your very best work’ – would a poet really send something out if they didn’t think it was good? But then again – and perhaps more to the point – what difference does it make if the poet doesn’t think it’s good?

I’ve stalled a bit this year, in terms of getting poems published, but that’s mostly down to my own lack of temerity (I think) – I just haven’t been sending enough stuff out, because I haven’t been writing much new material, and I’ve lost faith in all the ‘rejecteds’, when what I probably should be doing is looking hard at the rejected poems. Maybe there are some I can improve. Or maybe I just need to try sending them to different publications. Or both. One thing I have been doing this year, even if not writing, is reading. I’ve subscribed to some different magazines to see what’s out there, I’ve enjoyed a lot of readings and acquired a variety of new pamphlets and collections along the way. But I need to make sure that being inspired by or admiring of others’ work doesn’t stop me from sending out. I think this may be what has happened – I’ve just lost a bit of confidence and momentum. But I think I’m in the mood now to tackle that.

N’s ankle is fine, by the way – two days ago he was hobbling into the hospital and now he’s playing the organ and desperate to take off the strapping. That’s confidence for you!

Poet's Tips/

More words of advice from Mimi Khalvati

Having recently been to the last of Mimi Khalvati’s Lewes for workshops for a while, I realised I hadn’t been blogging about them as I used to. It was also time to clean out my ‘workshop notes’ folder, so here are a few more things I’ve jotted down from time to time – I hope you find them interesting. Even though I can’t recall or reveal the poems that prompted them, they’re all points that resonate with me.

On truth – you can’t / shouldn’t always be true to the real or original experience. It doesn’t matter if ‘that’s not the way it actually happened.’ Similarly, if you’re creating a ‘found’ poem, your selecting and framing of the material is part of the work, part of making it good.

On considering the whole at the same time as the specifics of a piece – you may have good reasons for every line break or stanza break, but you need to consider the whole poem at the same time, because what’s good for one line break may not work in the wider context of the whole poem. Turn the sheet of paper around and look at  it from behind to really ‘see’ the shape – is that really what the poem wants to be?

On music versus logic – Sometimes you need to keep something in for the music, even if it’s not logical or whatever. If an element of a poem is part of the musical composition then perhaps it has earned its place.

On deciding what the poem wants to be – what you set out to write may not be what gets written. Perhaps it’s a song, or a ballad. What does it remind you of – what are its ancestors? Is it two different things, and if so, which direction will you go with?

On understanding what stage your poem is at – this has nothing to do with how long you’ve worked on it – a poem can be finished without any re-writing, it can also be worked on for years and still be at the early draft stages. You may think each redraft should take you closer to a finished poem, but it’s not necessarily the case. (Sadly!)

It was Mimi’s birthday last week, so there was cake …

Mimi Khalvati Lewes workshop may 2014

Events/

Granta Japan launch

Granta 127 Japan in Brighton
Lucy North, Yukiko Motoya and Asa Yoneda

A fascinating evening yesterday in Brighton at New Writing South for the launch of the latest issue of Granta magazine issue 127, Japan, published simultaneously in English and Japanese. Two of the contributors, Yukiko Motoya and Hiromi Kawakami, read extracts of their work in Japanese, and their translators then read the same passages in English.

I know absolutely no Japanese but there was something beautiful and magical about hearing it spoken, words running over you like music, for the listener to make of it whatever they wished. Yukiko read from a mysterious short story called ‘The Dogs’, and when questioned about the open ending she admitted she didn’t necessarily know what the story really meant. She also talked about her writing process as being rather like two rivers – one herself, her life, and the other the writing (or ‘the muse’ I suppose); the rivers sometimes flowed very close to each other, and that was the time when she was able to cross over into the writing, to step into it, but at other times, the ‘writing river’ was a long way away from her. I really liked this description, it made complete sense in that writing poetry feels like that too. And the idea that you can’t force the rivers together, but when the moment is there, you have to recognise it and grab it.

Hiromi read from her essay ‘Blue Moon’, about her experience of reading haiku in Moscow, a very moving piece, and this then set the discussion going about the issues (or not) of translation, and whether ‘all translation is mistranslation.’

Not only was everything being translated during the evening, but we had questions from the floor in Japanese also. By the end of it I couldn’t wait to get my hands on a copy and re-ignite my lapsed Granta subscription. The cover is beautiful:

Granta 127 Japan

… and if you think there’s something slightly other-worldly about the image of the mountain, you’re right – it’s actually made of tin foil. Not everything is what it seems, eh?

Books/

Latest on the book, the pamphlet and more projects

Malling Deanery gardens and the Ouse
Taken on Sunday in the garden of friends

I don’t suppose you’ve noticed, but I’ve been a bit quiet on here the last week or so – not for any reason other than work though. I’ve fully recovered from the mini workshop trauma of a couple of weeks ago (I typed that as one word, workshoptrauma, which made me wonder momentarily if that’s a German word). Thank you for all the interesting comments on that one – it seemed to strike a nerve! But since then I’ve got back on the horse and the same workshop on Saturday was quite a different experience, it felt like we’d all taken a chill pill. Or maybe it’s just all the lovely blossom on the trees and the Spring-like weather. Last night we had a Brighton Stanza meeting in the open air – goodness! Summer must be acumen in. And I sold 3 copies of my pamphlet! Yeehaa.

Speaking of which, thank you to the kind purchasers of The Great Vowel Shift, it’s going well and has had two lovely reviews, one by Peter Kenny and another in London Grip.  Very exciting!

Today I’ve been hard at it, on the home straight with the blogging book (all the copy is due next Tuesday). In fact I was just writing about time management and beating ‘bloggers’ block’, and by way of a break in the writing I’m (erm) writing this blog post. (Which comes under the heading of ‘do something different’ – although it’s not all that different, but anyway…)

Blogging for Writers - work in progress
Blogging for Writers – work in progress

The good news is I’ve hit my 45k word count, bad news is I still have 4 double page spreads to write, so I’m going to be a bit over. Then there’s what feels like a zillion photos to source and caption, expert bloggers to chase up for their contributions, and then going through it all and filling in the many holes, amending cross-chapter references, spell-checking, repetition-checking and all that stuff, then getting in a nice orderly zip for submitting. At least I have another month to get all the images sorted. Then it’s headfirst into the next book.

In the meantime tomorrow I have the last of my 3 session ‘Build your social web presence’ at New Writing South, and I’m speaking at their Publishing Industry Day on April 26th which should be fun. But I’m looking forward to getting back to my one-to-one mentoring work and having a bit more time for poetry sometime soon.

Last week I was contacted by Julia McCutchen of an organisation called IACCW to ask if I would be a ‘featured speaker’ for one of their monthly webcasts later in the year, plus there are one or two poetry readings in the pipeline for the second half of the year, so lots happening.

I hope the weather lasts and you have a lovely Easter break. Enjoy the blossom.