Archive for September, 2008

Poetry readings: prepare to preamble!

Tuesday, September 30th, 2008

I recently received an email from an ONS reader, with this question:

“Hi Claire,
I’ve been really enjoying your articles on One Night Stanzas, and the poetry reading stuff has all been really helpful to me. I’m trying to build up the courage to get out there and read my stuff at the local open mics, so “I Want To Read My Poetry In Front of An Audience… But I’m Terrified!” was very useful! But I have got a question: in his guest post, Simon mentioned preambles, and I’m pretty clueless about what he means. Are these introductions to your poems? Should I be doing that… and how do I do it?! Please write a post to help me! Thank you… and keep up all your writing!
x Naomi.”

Well, worry not Naomi (and anyone else who might have been wondering)! I have the ultimate guide to preambling right here for your viewing pleasure!

What is a poetic preamble?
A preamble is basically a little introduction that you give to the audience before you read - you can either give one before you read the set, or a little one before each poem. They usually only last about 30 seconds, and generally just give a little bit of insight about the poem that your listeners might not otherwise have known.

What do you put in a preamble?
A preamble can be really, really useful. First and foremost, it settles the audience down and gets them listening - the more interesting and snappy your preamble is, the more curious your listeners will be about your poetry. If you’re reading a poem that works better on paper than aloud, or that has a foreign word or tricky-to-understand phrase in it, you can use your preamble to just say “by the way, that bit means X”. A lot of people use their preamble to give a little bit of context to their poem - to flesh it out a bit, as they say. You could tell your audience what led to the act of writing the poem, what inspired you. A little light-hearted introduction can also take the edge off a particularly sad or heavy poem.

What shouldn’t I put in a preamble?
Don’t “explain” your poem; let it do that itself. Don’t say “this poem is about my ex boyfriend and basically in it he and I break up and then I burn all his posessions,” for example, because then the audience will already know what’s coming and won’t be too bothered about listening to the poem. Better to say “I was in this relationship that ended and I decided to get my revenge - that’s what this poem’s about”… that way your audience will be thinking ‘what did she do?!’

OK. Anything else to avoid?
Yes: try not to make your preamble too long. The last thing you want is for it to overshadow your poem, or to have your listeners thinking “yeah yeah, get on with it!” Try to limit yourself to 30 seconds, or, say, three or four sentences. When you’re onstage and you’re nervous, it’s easy to start wittering: if you find yourself doing this, just stop and say “OK, sorry, I’ll just get on with the poem now!” It should get you a laugh from the audience and it’ll stop them from getting bored with you!

Should I practice my preamble?
I’d say yes. Some people like to deliver them off the cuff, but I reckon that that way lies disaster! Personally, when I get up to read I get so flooded with adrenaline (what can I say? I’m naturally nervy) that I often get off the stage and have no idea what I just said. For that reason, I always make sure I have a vague idea of what my little intros will be, and I stick to that… it avoids blushes, and it keeps your time down!

Just I just do one big preamble first, or a few little ones before each poem?
It depends on how you feel. I like to introduce each poem in turn, but it varies from person to person, and I’ve noticed a lot of people just introduce the set. I think if you’re reading more than five, little intros before each are a good idea to give the audience a bit of a break between poems… you have to remember that audiences are witless things, you need to give them time to keep up!

Do I have to preamble?
Nope, absolutely not. It’s just like reading from memory - some people advocate it, but there’s nothing wrong with reading from the page if that’s what you do. Similarly, if you want to just read your poems and get the hell out of there, no worries. Getting on stage to read your work is tricky enough, so just do what you feel comfortable with, that’s the most important thing!

Other stuff to read:
What’s the deal with poetry readings?
“I Want To Read My Poetry In Front Of An Audience… But I’m Terrified!”
Preparing for a poetry reading
Guest post: Which poems work best live?

Got any poetry reading tips? Or do you have a question like Naomi? It doesn’t have to be on this topic, any queries or suggestions are welcome. Get commenting!

(Photo by Olivia Bee)

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Featured Poet #2: Heather Schimel

Tuesday, September 30th, 2008

This week’s ONS Featured Poet is Heather Schimel. She is 25 years old, originally from New York, but now lives in Arizona. She has a Bachelor’s degree from the University of Oswego and currently works as a writer for Textnovel. One day she was swept off her feet and onto an airplane. She also collects insects in an old bean jar, and wears sunglasses all year round. She dedicates everything she does to her fiancé JNB: mostly writing, but also occasionally boot-shining, being a kayak-partner,
and loving forever. You can see heaps more of Heather’s brilliant, inspiring poetry here. Feel free to leave comments for Heather in the comments box below!

Pretty Pretty Colorado City by Heather Schimel
Colorado City is the kind of girl
who takes her peppermint schnapps
with a little bit of coffee. She smells of
coconut oil and incest. She smells of blood sweat and
coupons. Her legs are Krazy Glue, her arms are

warped windows and the construction workers
never returned after she was sold. Colorado City

milks children, pays for the good habits with bicycles
and the bad habits with Sinatra. She places
a belt in the dog box. She places
a crash cart next to
the weak and weary.

Colorado City is big houses and heels. There is
gin in the trunk of her car. There are tunnels

hidden under her thighs. There is daylight
as a gift, in her underpants. There are

her father’s hands,
now just
her father’s hands

as she turns the wheel,
crosses the small war
that is
the state line.


Want to see your poetry featured at One Night Stanzas? If your submission is successful, I’ll feature a selection of your work over the course of a week, and then interview you at the end of it all, so readers can get to know you better! If that sounds cool, check this out… and remember, I’m also on the lookout for guest-bloggers.
(Check out the work of last week’s Featured Poet here, here and here!)

(Photo by Dani0010)

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I’ve been iCiNG-ed!

Monday, September 29th, 2008

Hey guys,

Just to let you know that a while ago, the spectacular Ms Gala Darling interviewed me for her “I Want To Be…” feature - a series of interviews with kick-ass people who are making their way in the world, doing the stuff they love. My interview is, of course, I Want To Be… A Poet!, and you are all welcome to go read, comment, and let Gala know what you thought!

I’m thinking that the interview might bring a few new faces to this blog, so I also just want to say hello and welcome to anyone who’s found their way here off the back of that article. In case you’re not sure, this is a brand new, positivity-focussed advice blog for aspiring young poets and writers. Here, you can:

- get in touch with a great idea for an article, or to ask me a question about any aspect of writing or publishing poetry. Check out this and the FAQ for more details!

- get your work published. ONS is only a new resource, and so far we’ve only had one Featured Poet, but I’m hoping to feature a new poet weekly, so click this link to find out more (if you submit your work, you could have a selection published on the blog, and get the chance to tell the world about your own creative processes, your influences, etc)! I’m also looking for guest bloggers to write about their pet poetry hates, burning poetic issues or personal writing experiences.

- find out about great resources like creative writing magazines (see here, here and here), blogs, contests and links.

+ heaps more, no doubt!
If you’re not sure where to start, here are some recent articles:

Dealing with negative criticism
Writing in the face of adversity
To blog or not to blog?
“I want to read my poetry in front of an audience… but I’m terrified!”
Do I need a creative writing qualification?
How do I know when I’m ready to publish my work?
Dealing with rejection fallout

Don’t forget: you’re welcome to get in touch, even if it’s just to say hi! Reckon there’s a question Gala forgot to ask me? Ask away!

Cheers writerlies!

x Claire

(Photos by Qwaizy)

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Dealing with negative criticism.

Monday, September 29th, 2008

Criticism is a fact of life for poets. If you’re putting your work out into the public eye, there will always be people who want to review it, discuss it, offer their opinion on it, or just praise it to the skies. And in essence, all of these people are criticising.
Young writers are often terrified of criticism, because in the literal sense, to be critical means to be harsh, to find fault, to nitpick. However, in the more abstract sense of the word, a measured reaction to a piece of art = criticism, and in this sense, criticism is not necessarily bad.
In fact, if you’re a poet and you want to improve your work, you should welcome criticism. Reader-responses are tools for editing, redrafting and improving, so seek them out! You should be taking on board any constructive comments that you come across - honest, well-justified points (on anything from the tiniest comma issue to the advice that says you should cut a whole stanza) are worth considering, even if you choose not to act on them. But be careful: not all criticism is constructive, and dealing with negative responses can be a bit of a minefield.

How do I tell the constructive from the negative?
This is tricky - particularly if you’re new to receiving criticism or if you feel particularly proud of the piece of writing being criticised. If either of these things apply, then you’re very likely to see any criticism as an attack. And don’t get me wrong: even constructive criticism can feel that way sometimes, but look out for the positives. There’s a definite difference between “cut out stanza four, it’s no good at all” and “if you cut stanza four, the poem would be better”. The suggestion is the same, but the delivery is crucial. The first statment is concentrating on what’s wrong with your poem, while the second is a suggestion for making it better.
Another way to work out whether something is constructive or negative is to look at how universal the critical statement sounds. Offering a personal opinion is usually fine; making sweeping generalisations isn’t. For example, if someone says “this doesn’t really read like poetry to me”, they’re just offering their opinion, and you can take it or leave it. If they say “what you write isn’t poetry”, they’re assuming that all your readers will agree. There’s a big difference between “this isn’t to my taste” and “no one will like this.”
Some negative criticism can be deliberately well-hidden, too. Statements like “I’m sure there’s a good poem in there somewhere” or “I think I understand” are very ambiguous. If it’s ambiguous, it’s not really helpful either way, so give your critic the benefit of the doubt and ask them to be more specific. You should soon be able to tell whether or not this is criticism you should be taking on board.

Someone just made a really mean remark to my face. What should I do?
First of all, step back and try to be as objective as possible. Don’t just tell them to get lost, and don’t allow yourself to say the first thing that comes into your head - you’ll doubtless regret it later. Instead, think quickly but carefully about how you want to react. If the criticism needs an immediate response, you really have to stop yourself from flaring up or getting upset. Buy yourself time by saying “I’m not sure what you mean,” “can you elaborate?”, or even “sorry, I didn’t quite catch that,” and then work out how to move on from there. (This can be a good tactic, because while it’s easy to say something hurtful once, having to say it again can make people think.) As your critic rephrases their remark, you may come to realise that they didn’t intend to be hurtful in the first place, and you could well be glad that you didn’t just snark them off! However, if you’re still hurt by their comments, come back with a neutral response like, “that’s an interesting angle on it, I’ll think about that”, or “well, I appreciate any feedback.” That way, you can bring the issue to a close and escape from the conversation… or at least change the subject!

Someone’s left a negative comment on a forum/my blog/a poem I posted online. What do I do?
This all depends on how severe the comment is. Recently, I found myself in a situation where I was being attacked on a big-name poetry forum without my knowledge, and a few nasty comments had been posted. The forum thread called a lot into question, and so I quickly emailed the original poster to ask that it be taken down. Obviously, people with scruples this low are few and far between, so chances are nothing this drastic will happen to you. If it does, you’re bound to feel upset, but again, step back and try to be objective. Someone else has written ill of you, but that doesn’t mean you should do the same - so don’t take to a blog or forum-post and vent spleen yourself. Instead, try to get the comments in question removed. If this means communicating with the original poster, don’t get personal - just make the request as reasonably as you can. If it means speaking with someone higher up the foodchain, don’t be too long-winded or dramatic… just point them in the direction of the trouble, and explain briefly why you think they need to intervene.
If the negative comments are on a smaller scale - say, if a mean commenter has wandered into your deviantART gallery and decided to leave a few choice words - the best thing you can possibly do is just ignore it. This can be really hard, but an angry response of any kind means that your negative commenter has won. If you’re itching to write something scathing back, snap your laptop shut or turn off your monitor and remove yourself from the situation. Go away and do some of this stuff, or have a rant about it to someone. Don’t go back to your computer until you’re cool, calm and collected; until you know that you won’t even be tempted to dignify your attackers with an answer.

My work got a really negative review, and heaps of people have read it. What do I do?
This can feel like a huge deal at the time, but it really isn’t. If you’re a writer, bad reviews are part of the job-description, and trust me, they really don’t hurt your career as much as people might like you to think. Any review - even if it’s in the New Yorker or somewhere - is just the opinion of one person, and them saying “this person’s writing sucks, nobody should read it,” is kind of like saying “rum-raisin ice cream sucks, nobody should eat it.” Sure, rum-raisin ice cream might be an acquired taste, but are people really going to stop eating it because one guy told them to? Nope. Are people really going to totally boycott your site, book or pamphlet just because one guy told them to? Nope. People have brains in their heads, and they want to make up their own minds, so the best thing to do about a bad review is ignore it and move on, ASAP. Think about it this way: this person who hates your writing has just told a whole load of other people that you exist. They might not have known that before. Your reviewer (if they’re even half-decent at their job) may also have sparked the curiosity of a few people. Chances are, even a bad review will get you more readers than no review at all. It really is true what they say: all publicity is good publicity, so really, you should be raising a glass in honour of your evil reviewer!

Argh! I snapped back at someone because they were negative about me, and how it’s got out of hand!
OK, so someone was mean about you so you were mean back, and then all their friends started being mean about you too, and they’ve all written heaps of bad stuff about you and you’re totally out of your depth. Or maybe you responded angrily to a negative commenter and now they’re really upset and threatening to get back at you somehow, and you’re worried about what they’ll say/do. Or maybe you’ve said something you now regret to someone important, and you’re terrified about the consequences it could have. I understand - never fear, it happens all the time, and these things are usually pretty easily solved.
Situation 1: they were mean, then you were mean back, now everyone’s being mean. No one’s in the clear here, but someone needs to take responsibility, and that someone might as well be you. Get in touch with the original negative commenter, and apologise (sincerely - no double-edged comments). Say you’re sorry, you didn’t mean for things to get out of hand, and you want to move on. If they’re even a half-decent person, they’ll accept your apology, and hopefully get rid of any nasty stuff they’ve written about you. If they don’t accept your apology, I’m afraid you’re just going to have to walk away, and console yourself with the fact that you were able to behave like an adult in the end. It may be worrying to think that there are slurs about you all over the internet, but trust me, they’ll probably never make a difference to your future.
Situation 2: you were mean, and now they’re threatening vengance. OK, realistically, what is this person going to do? Unless they’re Colonel Gadafi, you’re probably not going to come to any physical harm just for a rude remark you made. Even if they’re threatening to harm your career prospects as a writer, those threats are probably pretty empty (I once had a reasonably well-known poet insinuate that no editor would touch me if she had anything to do with it. So far, no evidence of this…), because trying to wreck other people’s chances doesn’t do your own chances any good at all. The best thing to do in this situation is to take back what you said, however hard that may be for you. Remove the comment you made, and apologise. Destroy whatever record you can that any unpleasantness ever took place. If that doesn’t work, you’ll just have to take your chances. I reckon I can guarantee that nothing drastic will come of it.
Situation 3: you said something you regret to the wrong person. Easy: get in touch with them, apologise, and explain. If you don’t have a way of contacting them, find out. And if you can’t find out, move on. Yes, unfortunately people do have long memories, but sometimes you just have to chalk these things up to experience. The only thing you can really do is hope that your two paths cross again in the future.

Some stuff to remember:
- Not everything that sounds negative is negative. Read or listen carefully before you respond. Bear in mind that the internet comes without body-language, which makes up about 90% of all communication. Comments that sound rude could just be sarcastic or tongue-in-cheek. If you’re not sure, ask the commenter to elaborate. If you’re still not sure, stay as neutral as possible, or don’t respond at all.

- People are entitled to hold an opinion about your work. They’re not entitled to get personal about you, but they are allowed to say what they think. If you have a problem with this, then maybe you’re not ready to put your work out there to be read. Think carefully about whether or not you want other people to criticise your work - if you’re not confident, don’t feel rushed into submitting to zines or posting your work online.

- If you think you’re constantly getting negative feedback, then maybe you need to adjust your negativity radar. It may well be that you’re not great at taking criticism, and so everything feels like a personal attack. If this is the case, you have to force yourself to be more positive. 90% of feedback is useful, so try and see the usefulness wherever you can. See all reviews of your work as publicity, and bear in mind that for every person who doesn’t really dig your work, there’s bound to be another person out there who’d like it.

Got a criticism question? Think I’ve missed something? Want to share a criticism experience? You know what to do!

(Photo by Demis Courquet-Lesaulnier)

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This week’s Featured Poet interviewed!

Sunday, September 28th, 2008

For the past week, ONS has been featuring the work of Chris Lindores, Edinburgh’s answer to Charles Bukowski, and the newest member of the Read This editorial team. Chris poetry is gritty, urban and darkly comic, with a definite Beat-esque flavour. You can see his previous features here and here, and check out more of his work at his deviantART site. Here, Chris talks about what and why he writes, what inspires him and what he wants to do next…

Tell us about your poems.
My poems are mostly based on stuff I see just going when I’m just going about my business, things that happen to me, a nice phrase or idea I hear; anything really. I usually note down the event/phrase/scene in a notebook so I don’t forget it and let the idea stew in my brain for a bit before I actually write the poem. My poems of late have been mostly about stuff that happens to me, hence the omnipresent theme of everyday stuff, and alcohol.

How long have you been writing?
I began writing 3-4 years ago, when I was doing Advanced Higher English in my last year of high school. We were encouraged to write some poems for it, and along with having to read Edwin Morgan, (the first poet I had ever properly read and cared about) that was me.

Do you have any publications to your name? What’s the next stage for your work?
Read This Magazine has been kind enough to publish me a few times, as have Student, the University of Edinburgh student paper, and The Journal, a student paper that covers all universities in Edinburgh. I’m waiting to hear back from The Delinquent about a few poems I submitted, and have a huge list of places I keep meaning to send poems to, but never get around to it… Brittle Star, Spark Bright, The Beat, Pomegranate, New Leaf, Open Wide, and Dash (with thanks to this blog for the recommendations, as I’d be completely lost otherwise). Also hoping to read at the Golden Hour at some point, along with possibly helping to arrange readings for Read This and Tontine.

What do you think is your biggest poetic achievement to date?
Getting published for the first time was my ‘proudest’ poetry moment. Doing my first reading was also a big thing, and really spurred me on to wanting to do many, many more…

What’s the best thing about writing poetry? And the worst?
Best thing: It’s all good. Getting an idea that you know will turn into a poem, letting that idea stew and develop for a while, the act of actually writing, and then having a finished poem.
Worst thing: Probably editing. If good ideas end up in a terrible poem, I always go back to try and salvage them and turn them into something worthwhile, and, while it’s worth it in the end, editing on that scale is a very boring and arduous task.

Got any suggestions for young, upcoming poets?
Keep writing, all the time, about everything. Don’t be afraid to write a shit poem now and again; it gets it our of your system and you can always (and should!) try and rescue the good bits of it.

Who/what influences your poetry?
I’ve only really got into Edwin Morgan, Charles Bukowski, and William Carlos Williams with bits and pieces of other poets; I’m in the process of reading more, but I’ll get there in time. Other influences come from music, random conversation, novels… everything influences how I write; how could it not?

(Chris has a great new poem forthcoming in the next issue of Read This, so keep an eye out for that… and for more of his work popping up in the future! In the meantime, check out this final poetic offering!)

A Problem, by Chris Lindores
Her foot
accidently
touched mine
for a second,
which should have been no bother,
but I had forgotten
how warm
people are,
and now I’m trying
so hard
to rid myself of it,
every night,
up late.

Want to be an ONS Featured Poet? Get a selection of your work featured on the blog over the course of the week, and we’ll interview at the end of it all to get an idea of what you’re all about and where you want to go with your work. If you’re interested, check this out, or drop me a line for more details!

(Photo by Fanfaron)

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Useful advice from writers and editors.

Saturday, September 27th, 2008

For those of you who have just arrived, this is an advice blog. I use it to help young and confused writers with everything from writing a cover letter and submitting to magazines to protecting their work from copyright theft and dealing with rejection. However, I’m not the only one out there who wants to help you guys with your writing, reading and publishing… so I’ve been scouring books, magazines, blogs and sites to find the best advice from poets, writers and industry insiders. Check it out!

On writing and publishing:

“More often than not in poetry I find difficulty to be gratuitous and show-offy and camouflaging, experimental to a kind of insane degree—a difficulty which really ignores the possibility of having a sensible reader.” - Billy Collins

“The impulse to write has to do with making something, with capturing, recording, preserving, honouring, saving…” - Sharon Olds

“I wish I was better at ignoring praise and criticism in equal measure. I’d be a better poet.” - Anonymous, from Magma magazine.

“The first draft of anything is shit” - Ernest Hemingway.

“Follow the submission guidelines. To the letter.” - from Happenstance Press‘ “Dos and Don’ts”.

“Keep resending! I had one poem accepted on the 15th attempt.” - Tim Love

“Today there are thousands of poetry blogs – ranging from the completely serious to the completely not. It provides for a more effective & diverse way for poets to discuss matters of direct interest to one another without going through the funneling influence of an academic review process… This is really an absolute necessity.” - Ron Silliman

“Sooner or later, if you don’t give up and you have some measurable amount of ability or talent or luck, you get published.” - Neil Gaiman

“Be ambitious for your poems. Aim to make them better and better and better. As good as you can get them in a lifetime.” - from Happenstance Press‘ “Dos and Don’ts”.

“Poems are not easy to start, and they’re not easy to finish… But I’d say the hardest part is not writing.” - Billy Collins

“f I had to give young writers advice, I would say don’t listen to writers talking about writing or themselves.” - Lillian Hellman

“There’s little point sending to [major book publishers] unless you have won some major competitions and/or have appeared in some major magazines. Even then, it may well be better to try a smaller publisher first.” - Tim Love

“Don’t give up hope. If you believe in your writing, keep on reading and developing your skills. Keep on building your profile. Spread your enthusiasm.” - Chris Hamilton-Emery of Salt Publishing.

“Once it’s done, to put it away until you can read it with new eyes… When you’re ready, pick it up and read it, as if you’ve never read it before. If there are things you aren’t satisfied with as a reader, go in and fix them as a writer: that’s revision.” - Neil Gaiman

On poetry readings:

“Turn up at writers events. Be seen. There are quite a few free or reasonable events. Be seen buying books!” - Sally Evans of Poetry Scotland.

“[Poetry readings provide] companionship. And pleasure: musical pleasure, in hearing it… And recognition: ‘Someone else has felt what I’ve felt.’ And surprise: ‘I never thought of that.’” - Sharon Olds

“At a poetry reading you get one shot at it and it’s never enough.” - Jim Murdoch

“I hate when poets over-read [at poetry readings]. Anyone can time themselves reading (including intros and asides). It does them no good as the audience become first bored then annoyed. Better to leave them wanting a little more.” - Anonymous, from Magma magazine.

“It’s an unnatural act, getting up in front of a crowd of people. It’s what a lot of nightmares are made of, whether your pants have fallen down or not.” - Billy Collins

“In the States they have a term, Poetry Sluts. These are people who leave after they’ve read their own poems and aren’t polite enough to stay for the others [at the reading].” - Anonymous, from Magma magazine.

On dealing with your fellow poets:

“It’s hard to give out negative comments…without generating a lot of ad hominen tsouris [without sounding prejudicial and causing upset] in return. There are so many good books of poetry, that I see very little need…to focus on the negative.” - Ron Silliman

“Don’t give loudly critical opinions of other poets. It’s not possible to be objective, as we’re all competitors in some respect. And it sets you up for a helping of the same.” - Anonymous, from Magma magazine.

“The world of poetry can be a bear pit, and like any industry it is competitive and has moments of confrontation and even dirty tricks. Be prepared to take some knocks along the way.” - Chris Hamilton-Emery of Salt Publishing

“Never write ill of anyone. It will come home to roost.” - Sally Evans of Poetry Scotland

“The writer’s job is not to judge, but to seek to understand.” - Ernest Hemingway

“Courtesy gets your name remembered. You want your name to be remembered. You want to be a person, not just print on a page.” - from Happenstance Press‘ “Dos and Don’ts”.

“It’s so easy to sneer, so easy… [but] much better to just get on and DO something, WRITE something.” - Rachel Fox

Other stuff to read:
10 Commandments: What To AVOID When Sending Your Work To Magazines.
Myths Busted: 10 Poetic Untruths You’ll Probably Have Heard.
How Do I Know When I’m Ready To Publish My Work?

Find more advice from Ernest Hemingway at The Positivity Blog.
There are more words of wisdom from Ron Silliman here, and on his brilliant blog.
Billy Collins offers up more poetry know-how here and here.

(Photo by Ala care este)

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Writing in the face of adversity.

Saturday, September 27th, 2008

OK, here are a few phrases you’ll probably encounter a lot if you decide to tell people that you want to be / are a writer. Perhaps you’ve already heard some of them…?

“Don’t be ridiculous. How are you going to support yourself?!”
“I used to say that when I was your age… you’ll see.”
“But writing’s just a hobby, isn’t it? ”
“Great. But what’s your real job?”

Sound familiar? I’ve had responses like these countless times from people who genuinely can’t understand why anyone would want to even try to make their living from writing. I think you can apply them to just about any other creative endeavour, too — try telling people you want to be a painter, fashion designer, musician, sculptor or actor, and you’ll probably hear similar things. This kind of response can be incredibly demoralising, particularly if it comes from a trusted friend, family member or personal hero. Often you’ll hear things like this from people who are older and supposedly wiser than you, which can also leave you questioning yourself. But no matter how often you hear these phrases, please, please don’t allow yourself to be disheartened by them. Many people can’t understand the possibility of an equation like writing + hard work = paying the bills. But that doesn’t make it a scientific impossibility!

Great. But what’s your real job?
OK, so the person who asks this question is probably assuming that your writing doesn’t make you much money, and as a result, you probably have another job which helps keep a roof over your head. This is a reasonable assumption to make - many writers do have a second source of income, either out of financial necessity or because it directly facilitates their writing. This is particularly true of poetry, I’m afraid. Poetry is an integral part of our everyday lives - it’s in the nursery rhymes we sing to our kids, it’s in greetings cards, advertising, and jingles on the radio. But despite this, not many people actually make the conscious effort to read poetry - to buy poetry collections, attend poetry readings or seek out new and exciting poets locally or online. Poetry just doesn’t sell well, which means that it does not generate too much income - and as a result, most poets do “real” jobs throughout their lives. William Carlos Williams worked as a doctor his whole life (he wrote short bursts of poetry in the few spare minutes between appointments), and Philip Larkin kept up his career in librarianship in spite of his rise to poetic fame. Most of the poets I know work in literature-related environments - some are English teachers, some University tutors, some work in bookstores or write copy for medical journals. Lots of poets support themselves by setting up or working for small publishing firms, which not only helps them survive - it helps poetry survive, too. But yes, I’m afraid it’s true - 99% of poets have to work at something other than their writing, which means you will probably have to, too - at least for a while.

Don’t be ridiculous. How are you going to support yourself?!
So you probably are going to have to get a “real” job, and therefore - although this isn’t very nicely worded - it is a fair question. When you’re not frantically scribbling, what are you going to do?
Well, you’re a creative person, and so I’m guessing that the thought of a 9-5 office post or a low-paid table-waiting job probably makes you want to scream. But you can relax, because you do not need to do those jobs! Teaching is a popular one - could you teach? You don’t necessarily have to do a teaching degree and end up in charge of a class of thirty kids - just think about what you’re good at; what skills do you have that other people might want to learn? You write, so I’m guessing your language skills are pretty good; or perhaps you play flute, or breeze through long division? Pick a skill, work out a step-by-step teaching strategy, and then make bright, bold posters and advertise yourself: “Want to learn French? Get lessons from a native speaker!” Alternatively, you could look around for private tutoring agencies and firms in your area, and see if they could take you on. That’s how I ended up working as an English tutor; that’s how I pay my bills and support my writing.
There are other ways, of course, if teaching doesn’t float your boat. Working in a bookstore may just sound like another dull retail job, but give it a try. Chances are, the people who work there are into words in the same way you are - particularly if the store is an independent one. A good poet friend of mine worked for several months for the huge chain bookstore Waterstones, and surprisingly, loved every second. He got to work in the poetry department, and he went through there like a dose of salts, insisting that they order in more books by Charles Bukowski and other hip writers, writing enthusiastic reviews for poetry books to make people buy them, and making suggestions for cool literary events for the store. He also took the time to chat with the customers about the books they were buying, and had a great time meeting loads of like-minded people!
Basically, your “real” job should always be something you don’t totally hate. Creative people can wither in soul-crushing corporate workplaces, so make sure your day-job isn’t affecting your writing in a negative way. If it is: quit. Go work in a cool café, deliver leaflets or posters, become a carer for the elderly (old people are amazing, and good, caring people are always needed), walk your neighbours’ dogs, drive a pizza van. Do something you like, and when you’re not doing it, write. Don’t let anyone else tell you how you should support yourself!

But writing’s just a hobby, isn’t it?
So, you mainly need the “real” job because writing does not tend to generate a regular income - if you go through a bad patch with your writing and have no financial back-up, you could end up with no rent-money at the end of the month. However, writing is not just a hobby - it can make you money, if you know how to work it!
Poetry’s tricky to sell, as we’ve already discovered. However, some magazines do pay for poems. It’s not generally a lot, but it’s something - and the day of your first paid magazine gig is a momentous occasion! You can also get paid for reading your poetry to an audience, so try and get yourself on the bill of a local poetry reading. Many of these events charge a small entry fee, and more often than not, that goes to the poets. If your scruples allow, you can also try touting your poetic wares to greetings card companies or souvenir manufacturers… obviously you won’t be writing your best or most complex work, but you’ll be writing and making some cash!
Other forms of writing are more lucrative than poetry, thank goodness! You can make cash-per-word writing freelance magazine articles, reviews etc, and there are heaps of websites out there with advice on this kind of thing - just type “freelancing for beginners” into Google (but watch out for scams… don’t part with any cash for online writing courses or the like - you should be able to get all the info you need for free). You can also write for a specific market - as I said earlier, medical writing can generate income, as can travel writing and writing for other specialist areas.
If you’re feeling courageous, you can also send your work off to poetry contests with cash prizes (though with most of these you have to pay an entry fee… make sure it’s worth paying to enter!) or read up on grants and other funding for writers.

I used to say that when I was your age… you’ll see.
Whatever you do, do NOT be discouraged by negative responses from other people! This “you’ll see” response is particularly nasty, because it implies that you’ll fail, or that you’ll regret pursuing your writing at a later stage of your life. Yes, you should be sure that writing is really what you want to do, but chances are if you do decide to follow that path, and if you stay smart and true to yourself, you’ll have no regrets whatsoever. As for the “don’t be ridiculous” comment - writing and creating are not ridiculous exercises. If you ask me, slaving away at a PC or photocopier for eight full hours of your waking day is much more ridiculous than creating something really cool and unique and sending it out into the world for people to enjoy. And if someone asks you what your “real” job is, tell them it’s writing - you just happen to have another job on the side.

Other stuff to read:
Myths Busted: 10 Poetic Untruths You’ll Probably Have Heard
To Blog Or Not To Blog?
Do I Need A Creative Writing Qualification?
How Do I Know When I’m Ready To Publish My Work?

How To Be A Writer & I Don’t Know What I Want To Do With My Life! from Ms Gala.
10 Reasons Why You Should Never Get A Job from Steve Pavlina.

(Photo by SummachPhoto)

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Procrastination Station #5

Friday, September 26th, 2008

Here are the best bits from the web this week!

As a collector of old typewriters, this collection of funky vintage ribbon cases thrilled me…

…and as a nosy person, I was also fascinated to hear what Marilyn Monroe kept in her drawers!

Over at The Guardian books blog, things are happening. Esther Freud gives a podcast on her brilliant book (one of my favourites), Hideous KinkyWendy Cope and Lavinia Greenlaw give you a run-down on How To Write Poetry (with great advice from Simon Armitage and Bloodaxe’s Neil Astley, too)… and find out how some people are solving their “reader’s block” - by visiting a reading therapist!!

Think being a poet is a bizarre profession? How about being a professional mermaid??

I was also majorly inspired by this video, brought to my attention by none other than the awesome Kanye West!

Two of my all-time favourite poets have new books out! Allen Ginsberg’s collection of letters (gathered posthumously) looks great, as does Billy Collins’ new collection. (If anyone fancies making an anonymous donation of either from my Amazon wishlist, be my guest!!)

In more depressing Ginsberg-related news, the Howl film is probably going to really suck.

Some people ONS has made friends with recently: first and foremost, the great Ron Silliman featured us earlier this week (thanks to Jim)! We’ve also hooked up with the brilliant PoetCasting site… I’d really recommend you check it out to hear some up-and-coming poets read their work. Poets Char Runcie, Aditi Machado, David Floyd and Andrew Philip have also given shout-outs about ONS.

And finally… some stuff for you all to submit to!
Michael Symmons Roberts is looking for self-portrait poems for his latest online workshop… Coconut are currently accepting submissions there’s a newly-launched poetry forum here, just waiting for you guys to get over there and fill it with goodness… and publishers of emerging writers CR Press have launched their 2008 De Novo Prize!

What’ve you found on the web this week?

(Photo by Lisa Kettell)

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Things I Love Thursday #5

Thursday, September 25th, 2008

What is TiLT? Why have it here?

Read This turning 10. Last week saw Read This issue 10 hit the shelves around Edinburgh, and the net, here. If you’d told us last October when we set up the magazine that within a year the magazine would see double-figures having attracted literally thousands of submissions… we’d probably have laughed at you!

Being back at Uni. I’m back into the new semester (my first semester as a postgrad), and it’s weird and great. I’m quickly learning that a dedicated creative writing course is very different to the academic literature courses I’m used to; that finally the focus is on how good you are at writing, rather than on how good you are at remembering information (99% of exams are useless)! Everyone on the course seems lovely so far, and (apart from the fact that I have to do a presentation on symbolism in To The Lighthouse on Monday - all tips welcome!) everything is really chilled out. Whee!

Tacky Weddings. I really am sadly obsessed with this blog. Cake Wrecks, too.

Tattoos. I really, really want a new tattoo. After my first one (well, technically it’s actually two), I was suprised that I didn’t feel “bitten” - people always say that as soon as you get one, you want another one, and you have to be careful or you’ll end up covered in them. Well, it took a while to kick in, but now I’m pining for a new tattoo. I’m thinking about another matching pair, possibly one on each foot. Obviously I am far too poor right now and have very few design ideas at all, but… want!!

My friend Martyna. Martyna and I were thrown together in halls in first year, and lived together for about 10 months, during what was probably the most stressful year of our lives! Martyna is a tiny, gorgeous Polish lady, covered in tattoos herself; a committed vegan and a studying lay-Buddhist. She’s also probably my best friend in this cold, cruel city, and after five years here, she’s going home to Poland! I love her to bits, and I’m going to be bereft when she leaves next week :(

Halloween. Only about a month to wait now, and I’m excited! Halloween is one of my favourite festivals, and though I hate Christmas commercialism, I kind of love it when it comes to Halloween! One year I really will have to spend October in the USA, in order to fully experience the getting-dressed-up-and-behaving-like-an-idiot-ness of it all. Watch out for me trick or treating dressed as Minnie Mouse, everyone!

Mods. They were/are the coolest people ever.

and finally, the work of Chris Lindores, this week’s Featured Poet. Check his poems out here, here and here!

OK, now you! Leave your Things I Love lists in the comments box!

(Photo by E_chihuahua)

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More of this week’s Featured Poet.

Thursday, September 25th, 2008

This week’s featured poet is Chris Lindores. See some more of his work here, or check out this trio of haikus…

Doner Martini
Some gin and vermouth
A sliver of kebab meat
Best served vomiting

Long Night In At The Circus
He died in his pants,
while snorting custard powder
with a fellow clown.

Business Management
I misunderstood
They wanted a huge profit
I got them Buddha.


Feel free to leave comments for Chris on this post. Want to see YOUR work here?

(Photo by Premasagar)

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