Showing posts with label Poetry Blog. Show all posts
Showing posts with label Poetry Blog. Show all posts

Saturday, January 21, 2017

Timing Is Everything


I'm sure you've heard the old saying "timing is everything." Do you have a more-or-less specific time of day or night that you find most conducive to your writing? According to Agatha Christie, “The best time for planning a book is when you're doing the dishes.”

Circadian rhythms aside, I thinks it’s safe to say that our life situations, our responsibilities, and the constraints of our daily schedules dictate when (and where) we’re going to write. Motivation and inspiration also figure strongly in our individual creative processes.

I can’t say that I get many ideas while washing the dishes, but spurts of inspiration do seem to come more readily during certain times of the day. My muse is fickle (big sigh here). She takes three-martini lunches and vacations in the south of France for long periods of time. When she does show up, I know her visit will be brief. A poem, for me, almost always beings with a single image (idea, line, phrase). I try to write that down as soon as I can before my wayward muse takes off again. Working that initial impulse into a poem is usually a long process during which morning is my best time for developing and refining ideas. (However, when I do have a poem in process, I sometimes go back to it again and again over a period of many days, nights, and various hours in between).

Science seems to point toward morning as the “best” time to write.

“Bouts of creative writing might be easier to come by just after waking as this is the time of day when the prefrontal cortex is most active.  A scientific study of brain circuits confirmed that this creative activity is highest during and immediately after sleep, while the analytical parts of the brain (the editing and proofreading parts) become more active as the day goes on. The study looked at morning and evening MRI scans and observed that mornings showed more connections in the brain.”

(blog.bufferapp.com/the-best-time-to-write-and-get-ideas)
 

In Claire Tomlinson’s biography of Charles Dickens, I read that Dickens (at his peak output) worked on his writing for approximately five hours each day, beginning roughly at 9 AM and continuing until about 2 PM. He sometimes returned to what he’d written earlier during the evening, but those five hours were his most productive. 

I think it’s safe to say that we’re all different as poets and writers. Are you a lark (up and writing with the birds) or a night owl (writing into the wee hours)? Following are some thoughts on the subject from ten of my poet friends, all of whom wear many hats (journal editors and publishers, teachers, professors, award winners, fiction and nonfiction writers, poetry series directors, bloggers, husbands, wives, moms, dads, and pet owners). For all of them—and I’m sure this is true for you too—finding time to write poetry isn’t always easy.
___________________________________


The dark before dawn is my favorite time to work. There are no interruptions, few distractions, and nothing says possible like the sun coming up. 

Cat Doty

___________________________________


My time of day has varied over the years. As a young poet I wrote almost always at night, at a kitchen table, when no one else was up. Sometimes I'd write from 10 at night until dawn. I'd love that tired but elated feeling I'd get, the ink on my hands and face (I wrote long hand then and sweated a lot) the static electricity that made the hairs stand up on my arms. I'd take a long walk and treat myself to a sweet roll or a kaiser with butter and a coffee light and sweet. Sometimes I was the first one at the candy store up my block, just as the owner was pulling up its coat of mail, so I'd help him put together his daily papers, and then get a free roll and coffee. Now, having forsaken divine afflatus (which seems to be always on the night shift), or having been abandoned by same, I write in the early morning or the late afternoon. I often write when I'm supposed to be doing something else, or just before I have to rush out. I love saying, "Wait a minute, I'm almost done!" to my wife, just as I once said to my parents, "Wait a minute, the games almost over." Of course it was never over. I write every day, but certainly not always poems, and I give myself permission to neglect many things for the sake of writing (except my wife and children). Still a writer must practice constructive neglect or the world will always find 100 things else he or she should be doing. Should be will kill you either way—should be writing or should be doing the dishes are both killers. Just write.

Joe Weil

___________________________________


When I was working full-time, I realized that generating new material worked best for me in the early morning. The closer I was to sleep, the closer I was to subconscious material.  And even if I just got fragments, I could tease them into fuller material later.  Music can also have the same effect. My favorite part of writing is revision, if it's not self-torture. Regardless of the time of day or night, I can become obsessed revising, and I consider this essential part of the writing process too. It's not about fixing a poem.  It's about the journey to the poem's essence, to liberate the poem to tell me its shape, its sound, its heart. Sometimes silence is key. I hear the music in the language against silence.  That's why I love winter days when I'm snowed in to revise. Something about the stunned stillness of the landscape where I can hear my own breath helps me hear the poem.  Any false note or syllable shows itself. Letting go of the poem is the hardest. Deadlines help or I'll revise for months, even years. But I’m okay with that. Less is more for me though I envy those of you who are prolific with your gifts.

Priscilla Orr

___________________________________


I don't have a particular time of day when I write poetry. I never have; and now that I'm retired from my "regular" job, I haven't found a "routine" time to write. My daily routine is a work in progress. I'm curious what others will say. Maybe I can learn from the other comments you receive. It seems I'm thinking/doing four or five things at a time. It's pretty special when I grab a pen and paper to write down something. I don't plan to write, unless it's a press release or some other prose project that has a deadline.

Tom Plante

___________________________________


I like to write at night after everyone has gone to bed, when it seems the world has fallen asleep and I am the only one listening for what needs to be said to that world before it wakes in the morning. But, I’m a father of 2 with a corporate job, so between waking and sleeping there is very little time to write. Instead, I write when life allows and that is typically on my lunch breaks at 1pm every day. They are my only regular, private time and I’ve accommodated my writing to that time of convenience. I’m on such a lunch break right now, writing these thoughts.

Michael T. Young
___________________________________


Most of my poems start at semi-unexpected times, such as sitting in a parking lot before an appointment or when I’m out walking or biking.  Later, I go through a stack of “starts” and hope that one strikes a chord or seems worth pushing toward being a poem. That usually is in the morning, when I have the emotional energy to wrestle. 

John McDermott

___________________________________


I wake up very early. Usually around 4:30 or 5. I make a pot of coffee & attempt to write. If nothing comes, I read (and try not to peek at FB).

During the day, if an idea, or line, or interesting word comes to me, I make a note of it to look at the next day. 

I almost never write in the evening. By then, my energy's been spent. 

Deborah LaVeglia

___________________________________


When I write, I need time and space alone. This is not oft, as I have two young children that need ample attention much of the time, and numerous domestic responsibilities, as well as teaching responsibilities outside of the home. In that respect, the time of day that I can accomplish some real writing varies, according to whether my kids are at school, quietly entertaining themselves, or taking a nap, and my husband is preoccupied or at work. I can say that this time usually happens in the late afternoon, on Tuesdays or Thursdays, or when I have an office to myself during my teaching hours. Being a mother and wife with a demanding schedule, I am ever grateful for that gloaming hour when I can espouse myself to that sacred solitude.

Emily Vogel

___________________________________


I'm primarily a morning writer. On an ideal day, I wake early, meditate and exercise, and proceed directly to Go at the current writing project on the computer. There are dangerous distractions along the way -- email, Facebook, coffee, playing with my dog. I am most productive if I forego those distractions and begin to write. Early morning time, when others may be sleeping, feels like it offers a quiet sanctuary where I won't be disturbed. It's best if it's before the regular 9-5 workday starts, too, because I won't feel guilty that I'm not working on Tiferet or other projects. The main challenge is not starting other work thinking I'll have time to do my creative writing later in the day. I really do like to feel, even if it's an illusion, that my to-do list has generally disappeared. That's why early morning, before the tasks of the day begin, works best for my psyche. It also works best if I make it a habit. Once I get out of the habit, it can be hard to dive back into it, like diving into a very cold water pool. Whereas if it's a habit, it's less intimidating. I even have Write for at least 1 hour on my habit-building app on my phone.

Donna Baier Stein

___________________________________


At this point in my life I write most often in the early morning. This is a change for me because when I was still teaching I usually wrote late in the evening after I had graded papers and prepared my classes for the next day. Now in retirement and my late 60's, I have the most energy and attention in the first hours of the day, usually between 6 am and 9 am with my first cup of coffee. I may sometimes return to a poem later in the day that I had begun that morning but most of my new work now happens right after I get up. When the muse is kind and I can get some words flowing a new poem is a wonderful way to start the day.

Edwin Romond
___________________________________


My sincerest thanks to all the poets who shared their “writing times” with us!

I hope you'll click on the links below the poets' names and visit them online.

As, always, dear blog readers, you’re invited to share your ideas as comments.





Thursday, December 31, 2015

Happy New Year!


Wishing you all many blessings and a happy, healthy New Year 
filled with poems to read, to write, and to share!



Saturday, September 5, 2015

About Open Mics


Here in the U.S., this is Labor Day weekend, many schools opened on the 3rd (before Labor Day this year) and, despite the heat and humidity where I live, there's just a hint of autumn in the air. The summer blog "reruns" have run their course. In this corner of Poetryland, readings begin to pick up again after the semi-lull of summer, and I thought a post about poetry readings might be interesting.

When I posted the above video here on the blog, a few years ago, I thought it was one of the funniest reading-related videos I’ve seen. If you’ve been to readings, especially where there are open mics, you’ve probably heard a wide range of reading styles. Revisiting the video got me to thinking about open mics and what makes a good open mic experience for both the readers and the audience members.

We’ve all been to poetry readings that include open mics. Sadly, some of these become agonizingly drawn-out events. Some time ago, I read in a venue in which the open readers after the feature were allowed to read as many poems as they liked.  I read for about 20 minutes; the open reading went on for more than two hours. Enough said!

Assuming that you read in opens or attend readings in which there are open mics, it occurred to me that letting people know what isn’t appealing might be a good way to approach the subject.

The goal, of course, isn’t to be negative but, rather, to point out things that sometimes occur at open readings—things that leave audience members wishing they’d left right after the feature.

Having directed the Carriage House Poetry Series for seventeen years, I can say with complete sincerity that being a series director isn't easy. We all hope to create venues in which poets and poetry lovers can share in a welcoming and non-judgmental environment. To do that effectively, readers (both featured and open) need guidelines, and it's helpful to know what doesn't work.

Accordingly, I invited five reading series directors (who are also distinguished poets) and asked them to make a few comments in answer to this question:

What can ruin an open mic poetry reading?

 With my thanks to the poets below, I hope you find the following comments helpful. 

_________________________________________

Bernadette McBride 
Director of the Farley’s Book Store Reading Series, New Hope, PA

If you are a poet who likes to read at open mics, a tip or two: realize you are not the featured poet—that status has been earned in some way and is given the bulk of time; remember that others want to read too and attendees have just listened to one or two featured readers—they're becoming “poetry-ed out” for the night.  Respect this. If you notice people shifting in their seats and rolling their eyes, sit down.  


_________________________________________

Deborah LaVeglia 
Director of Poetswednesday at Barron Arts Center, Woodbridge, NJ

  • If it's too long
  • If it's vulgar/inappropriate/sexist/racist
  • When those reading in the open, don't come to the feature portion of the program. 
It's the host's responsibility to lay down the rules and make sure they are followed. However, even though you make an announcement, newcomers may not adhere to your rules/suggestions. It's difficult to cut a person off mid-poem. I try not to, but have had to do it once or twice. Usually, I approach the person afterward, privately, and explain things. That always works for me. 

I don't like when hosts make blanket statements about rude open readers at the beginning of an open. It turns me off. After all, everyone shouldn't have to feel uncomfortable because of one or two people. Everyone can work things out with a little bit of patience, direction, and kindness. It's a difficult position for the host. I am very grateful that it is rare at the BAC [Barron Arts Center]. 


_________________________________________

Diane Lockward
Founding Director of Girl Talk and The West Caldwell Poetry Festival, West Caldwell, NJ

1. If you haven't been there to hear the featured poet read, do not sign up to read in the Open.

2. While the featured poet is reading, please do not sit in the audience and work on your own poems.

3. Regardless of how many poems you are permitted to read, do not ever read more than two, each of modest length.

4. Do not approach the featured poet after the reading and suggest a book trade.


_________________________________________

Laura Boss
Co-director of the Montclair Library Reading Series 
and Co-director of the Poetry Weekend Intensive Retreats

Here's what not to say at opens when you are limited to one or two poems:

"Could I just read one more poem?"


_________________________________________

Sander Zulauf
Former director of the Great Swamp Poetry Series and former Director of the Distinguished American Poets Series and Bicentennial Poetry Readings at County College of Morris, Randolph, NJ

For starters, poet wannabes with more ego than poetry in them.  Those who read too long are definitely an open mic buzz kill. Everybody deserves a chance at the open, but in order for everybody to have a chance, the leaders of the reading should specify the number of poems or the time for each reader depending on how many have signed up.  And should warn the poets that they will be stopped if they cross the line.  Leaders have a responsibility as well as the participants.  I was once chastised while leading the open mic at the Gazebo in one Waterloo Village Dodge Festival by stopping a guy with his notebook who was reading a ten or twelve page hand-written Iliad when some young whip stood in my face and quoted Frost at me about "nobody should stop a song" or something, and I had to stand up to him by defending the rest of the people who wanted to read and who were being eaten alive and denied a time by the talentless quack.   People who write poems while the featured reader is reading and then stand up and read their tripe in the open.  I am no longer a fan of open mics—I believe they are gimmicks to build an audience for the featured poets, and they can quickly poison the poetry well. 


 

Saturday, May 9, 2015

What Editors Look For


Emily Dickinson wrote, “If I read a book and it makes my whole body so cold no fire can warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way?”

We all know that poetry’s appeal is largely subjective and that publishers and editors naturally, and understandably, have individual preferences when it comes to the poems they choose for publication. Publishers and editors may not be the ultimate arbiters of what is and isn’t good work, but if seeing your poems published is among your goals (and it is an important part of the “poetry life” for most of us), then it’s not a bad idea to think about what makes particular poems compelling enough to publish.

With that in mind, I thought it might be interesting to poll some poetry journal publishers and poetry editors (print and electronic) to gather some ideas about the qualities of poetry that editors want for their journals. These represent the specific “criteria” of certain editors, but I suspect that many editors look for similar things. Here’s hoping that these will be helpful to you! (Be sure to click on the links given with each entry to visit the journals and editors/publishers online.)

 ______________________________

John Amen—The Pedestal Magazine
 
“We’re certainly looking for compelling images, rhythms, particular kinds of cohesion and non-cohesion, paradoxes, juxtapositions, new angles on old themes. Definitely there’s something to be said for solid craft, too; still, originality, while incorporating craft, also perhaps transcends it, making craft “its own,” so to speak. The unique perspective delivered via a compelling voice goes a long way. Balance of composition, which is obviously somewhat of an abstract and subjective term, also comes to mind as an appreciated element. It’s hard to offer clear criteria, though there are qualities, values, even aspirations that seem to push a piece of work in a memorable direction.”

John is founding editor of The Pedestal; visit John online:  

 ______________________________
    
Renée Ashley—The Literary Review

“Generally, I look for language that surprises and delights me; I call it “language that lifts its head off the page”—and I want an interesting mind working behind that language.  I want the sense that I’m in good hands, that the author knows exactly what she’s doing, that there’s a sure-footedness about the piece, that it’s active rather than passive, that along with humor, should there be humor, there’s a sense of gravitas, of consequence, of complicity. Tess Gallagher once said that contemporary poetry was “flat-footed and too full of sunlight.” I agree, and so what I’m looking for is an impressively high arch and deep, meaningful shadows. I want all these elements to work seamlessly and the poem to leave me, when I’m back in the real world, with my jaw hanging open and my head shaking back and forth in awe. If all that comes together, I say the poem has “tooth,” and if it has tooth, it’s a poem I’ll take seriously.”

Renée has been poetry editor at The Literary Review and Tiferet, and is now an editor-at-large for The Literary Review; visit Renée online: 

______________________________

Laura Boss—Lips

“For almost 35 years, since I first founded Lips, I am still drawn to narrative poems I find emotionally moving and where the poet is a risk taker in terms of subject matter and candidness. Clarity and freshness are a plus. Most poems in Lips lean toward specificity rather than the abstract. Lips still looks for the strongest unpublished work of a poet.”

Laura is the founding editor of Lips; visit Laura online:  
www.laurabosspoet.wordpress.com. 

______________________________ 

Maria Mazziotti GillanPaterson Literary Review 

“I look first at the work. I do not care about bios or professional affiliations. I read the poem, the story, the essay and decide whether it is a piece of writing that moves me to tears or laughter or makes the hair on my arms stand up. If it doesn’t do that, if it is only polished language, it's not writing I want to publish. I read all submissions myself, and the journal reflects my strong narrative bias.”

Maria is the founding editor of Paterson Literary Review; visit Maria online: 
 
______________________________

Mary-Jane Grandinetti—Shot Glass Journal and The Fib Review

"What I look for in a poetry submission is first how well the poet has acknowledged the submission policy and is respectful in their submission. I can’t tell you how many poets have replied sarcastically when I’ve asked them to resubmit their poems according to our policy. That tells me that the poet is only out to get “published.” I look for poets who instead feel their work is their best work and they want to share that with the world. I look for submissions that speak from the heart; where the poets express themselves in an experience that the reader can relate to, rather than the poet’s own singular, personal experience. In other words, I look for the “universal” experience. I prefer a poem that has a sharp ending or turn that makes the reader go “Ah” or “OOh” at the end. I don’t particularly like sentimental love poetry that can’t translate to the universal experience. I look for wit, humor and a focus on the poet’s knowledge of the mechanics of poetry. I find too many poets don’t know how to use metaphor or enjambment, etc. to benefit the poem or make it better." 

Mary-Jane is editor of both Shot Glass Journal and The Fib Review; visit Mary-Jane online: 
www.musepiepress.com/mjgrandinetti.

______________________________ 

Gina Larkin—Edison Literary Review

“I look for poems that make me want to read them a second and third time, not because they are difficult to understand, but because they grab my mind and don't want to let go. Shorter poems stand a better chance only because our journal is small in size. I hope that poets have read our journal and/or have checked the web site for the latest information. I look forward to reading your work. We are presently reading for our 15th Anniversary Issue—check web site for specific needs for this issue.”

Gina is founding editor of Edison Literary Review.

______________________________
 
 
Priscilla Orr—The Stillwater Review
www.sussex.edu/poetrycenter/stillwaterreview 

“So, we have three editors who choose, Jeannie, David and me.  We go through the poems individually pulling out the poems that are strong and that speak to us; then we meet and we spend a day together choosing poems. We read them aloud to one another. In the process, the manuscript begins to take shape.  We have a balance of narrative and lyric preferences on our team.  A strong poem has an energy that comes through the pile with its synthesis of music, image and language—syntax, diction, etc. As we work, the poems begin to speak to one another.  Sometimes a poem may be strong but not a good fit. But we love the process, seeing new work from writers we know, and work from writers new to us.  It’s a labour of love.”

Priscilla is the founding director of the Betty June Silconas Poetry Center, The Stillwater Review’s home base; visit Priscilla online:

______________________________

Tom Plante—Exit 13 Magazine

“In college I focused on the study of geography and poetry. I'm attracted to the mystique of the landscape and the way people react to their surroundings. In poetry, especially poems I would publish in Exit 13 Magazine, I look for the universality of human experience in a variety of locations. I'm looking for the reflections of wide-eyed travelers—how we communicate our experiences and reflect on the geography around us, whether we're in our backyard or we're on some fantastic voyage. What catches our eye and how it reflects our search for meaning and joy in life.”

Tom founded Exit 13 in 1988 and has been its publisher/editor since.

______________________________

Nancy Scott—U.S. 1 Worksheets
www.us1poets.com

“We are a poetry journal and we look for work that follows our guidelines, is formally submitted, not hand-written on lined yellow paper (yes, we get some of those), and demonstrates knowledge of craft, e.g., we get prose masquerading as poetry, although we do publish prose poems by poets who have mastered the distinction. We also look for unique voices, an original twist we don't expect. We like images, not abstractions. In the last issue, we published work about buttons and popcorn, tigers, Brooklyn, and Van Gogh.”

Nancy is the long-time managing editor of U.S. 1 Worksheets; visit Nancy online: www.nancyscott.net.

______________________________

Donna Baier Stein—Tiferet Journal 

At Tiferet, we look for poems that offer even a glimpse of a spiritual experience. We believe that such experiences are unique to the individual and not confined to any one religion. Our world is terribly divisive now, so we make an effort to find poems that express our common humanity. What most excites me is when I sense that the poet is doing his or her best to explain the ineffable. Personal peak experiences may come from traditional religious rituals, nontraditional paths like meditation or yoga, or simply being in nature or with a loved one. 

Donna is the founding publisher of Tiferet; visit Donna online:

______________________________

Emily Vogel—Ragazine

“I do my best to publish the poetry of both well-known and emerging poets. I publish the work of nationally recognized poets, the work of lesser known poets, and the work of student poets who are struggling to make their voices known. I do not have a limited aesthetic for the work that I publish. If it strikes me as something that might resonate with Ragazine’s audience, I send out my acceptance. I like inventiveness as well as the narrative tradition. When a poem is good, a poem is most certainly good, regardless of aesthetic discipline—I just have an intuitive hunch.”

Emily is poetry editor of Ragazine.

 ______________________________


Many thanks to the editors who shared their comments!