This thread is for articles and information that would be helpful for writers whether in a professional capacity or just in general. Please feel free to add your own finds to this post. Check in often for updates!
Kim
"A Mother's Journey: Through Laughter and Tears"
www.kimgarrow.webs.com
By Sophfronia Scott, "The Book Sistah"
Writing a book is a huge endeavor. It means someone has decided to dedicate a certain amount of time to putting words on paper. But so many people don't finish what they start. Maybe they've run out of ideas. Maybe they l ost interest. Maybe they got hopelessly stuck. However I believe the core of all these issues lies in one thing: the writer doesn't know why he or she is writing in the first place.
All you have to do before you venture into the ever-tangled writing forest is leave a few breadcrumbs behind so you'll know how you got there and you'll know the way out! Lay them out by asking yourself the following questions about your work. Use them to challenge yourself, to get inspired, to put your writing front and center in your life. It's hard to get lost when you know exactly where you are.
What Do You Have to Say?
Here's another way to put it: what story are you telling? What is your point in writing this story or work of non-fiction? If you can't answer in a concise way, take some time to think about your message. It can be a huge one, such as a b elief about how we all should live. It can be simple such as, "family is important". The big message in my novel was about the power of love in a family. I think I will always write about families because I believe the story of our families is the story of who we are in our hearts. I find the subject touching, challenging, inspiring.
As you think about your message, realize that ideally you shouldn't have to write it down. It should come from the core of your being and you understand it because it is a part of your natural thought process: it is who you are. Take another look at what you have written in the past because your message may be showing up already in your work and you haven't noticed it yet. This is the way August Wilson described the story that was at the core of his whole body of work: "I once wrote a short story called 'The Best Blues Singer in the World' and it went like this: 'The streets that Balboa walked were his own private ocean, and Balboa was drowning.' End of story. That says it all. Nothing else to say. I've been rewriting that same story over and over again. All my plays are rewriting that same story. I'm not sure what it means, other than life is hard."
Who Will Benefit from Your Words?
You will find the motivation to return to your desk each day when you think about what may happen when someone reads your work. Will there be women who can be healthier mothers because you are writing about battling post-partum depression? Will there be men who might feel closer to their fathers because you're writing the next Field of Dreams? When you think of your reader, it takes some of the pressure off of you because you realize the importance of getting the message to him or her. You think less of how you're coming across.
Are You Writing in a Medium That Best Suits Your Message?
I used to write poetry. I loved it too, but somewhere along the line I felt the things I had to say became harder and harder to fit into the confines of verse. I moved over to prose and never went back. I wrote for magazines and experimented with essays before settling into novel writing. August Wilson had written poetry and was working on a novel, but his talents glowed when he wrote for the stage. If you're having trouble completing a project, consider whether you are writing in a medium that is right for you and your message. Don't be afraid of experimenting with other forms. You can always go back to what you were doing before if it doesn't work out.
Step Down from the Soap Box
Writing is already powerful. The fact that people are reading what you write means they are already interested, maybe even absorbed, by what you have to say. You don't have to get up on a soap box and belabor your points to get them across. A simple story can speak volumes about the big picture if you let it. Mr. Wilson once told The Paris Review, "I think my plays offer (white Americans) a different way to look at black Americans. For instance, in 'Fences' they see a garbageman, a person they don't really look at, although they see a garbageman every day. By looking at Troy's life, white people find out that the content of this black garbageman's life is affected by the same things - love, honor, beauty, betrayal, duty. Recognizing that these things are as much part of his life as theirs can affect how they think about and deal with black people in their lives." Get it? Small story, big picture.
One Last Note
I know I'm waving the "big theme" flag here, but what I really want for you is for you to feel the passion of what you're writing. You may be passionate about a big message or you may be passionate about the simple question of "what happens next?" in your story (and you really want to know the answer!) Just connect with that passion and go with it because to me, this is how books get finished--when someone really cares enough to want to get to the end.
© 2007 Sophfronia Scott
COVER/QUERY LETTERS
The recipe for creating the perfect cover/query letter is simple: give editors and agents what they want, no more and no less. That's it. Basically, you need to prepare a letter that provides what the editor/agent requires and then "gets out of the way" so your writing (as illustrated by your work) stands on its own. Since 1994, we have helped many clients fine-tune their cover letters with great success.
Your letter must follow industry guidelines. It must be only one page, and it must contain editor/agent contact information. It may or may not contain a biographical paragraph if your writing credentials warrant such, and you must thank the editor/agent for his/her time. You may also include some interesting personal information that will grab the attention of the editor/agent such as: "I live in a 200-year-old registered historic landmark on the edge of a forest."
For Short Prose and Poetry: A cover letter accompanies short prose and poetry. It includes the title of the work in addition to some biographical information. Along with the cover letter, you will include a master of your work, (which should be professionally prepared within industry standards), and your SASE ($.41 for response only; the sample pages will be recycled).
Query/cover letter that accompanies a book submission: In addition to the information contained in a standard cover letter, the query letter contains a "blurb" about the book. A short paragraph covering the basic premise of the novel or nonfiction work will draw the agent in and will encourage him/her to move on to the short synopsis or outline. (When we refer to query letters here, we are not referring to query letters used to "pitch" ideas for articles or books. These query/cover letters accompany sample pages of a book submission.)
CHECKLIST FOR CREATING COVER/QUERY LETTERS
Biographical information: A cover/query letter should include, if warranted, your education (college degrees), publishing credits (no vanity presses such as poetry.com), and any interesting facts (such as well-known authors you’ve worked with). You may share a short sentence or two of personal information. What makes you tick? Do you play jazz piano on the weekends? This personal information will make you more real in the mind of an editor or agent. Just don't get too cutesy or talk about your grandchildren for two paragraphs!
Length: Your letter should NEVER be longer than one page, with one-inch left and right margins (top and bottom margins may be adjusted if more room is needed).
Contact Information: You must include your name, address, phone number, and e-mail. Having your own letterhead designed to your liking is a plus.
Show appreciation: You need to thank the editor/agent for taking his/her time to read your submission.
Short and sweet: Prepare a cover/query letter that provides what the editor/agent requires and then "gets out of the way" so your writing stands on its own.
Reference your SASE: All submissions should contain your self-addressed, stamped envelope. Say you've included it when you thank the editor/agent for her/his time.
Appearance: Use high-quality bond paper (at least 24-lb. weight) and an easy-to-read font, no larger than 12-point in the body of the letter, and no larger than 18-point for letterhead/contact information. Be certain your cover/query letter is presentable—no bent corners, smudges, etc. (The first impression an editor/agent has of your work is your cover/query letter.)
SAVVY SALUTATIONS
The first and most important part of the cover letter (besides accurate contact information) is the salutation, but with so many names available, this gets tricky. When we say tricky, we’re referring to gender-neutral names. Unless you have a personal acquaintance with the editor/agent, you cannot know if the name is male or female. Many clients over the years have insisted on Writer’s Relief using salutations such as Dear Mr. So-and-So or Attention Ms. Whoever. Addressing editors and agents using Mr. or Mrs. or Ms. used to be the norm. This is no longer true. In order to avoid embarrassment and alienating an editor (and NOT getting a good read), follow what has now become industry standard rules for addressing these decision makers. Simply use the first and last name of the editor/agent to whom you are sending your submission. This technique was used for mass mailings but has now become standard business protocol. Using both names for your submissions won’t be held against you. On the contrary, the editor/agent will know you’re not an amateur. For example, if the editor of a publication you are submitting to is named Alex Young, don’t begin your letter with Dear Mr. Alex Young because when she opens up the envelope, she’s likely to feel at least a little annoyed.
In the US gender-neutral names are becoming trendier each year. Before 1960 these names were almost nonexistent. Since then, more and more parents have turned to names such as Dakota, Drew, and Zane. Also, when dealing with names from cultures other than your own—don’t assume. Be cautious and tread lightly because you don’t want an editor turned off by your lack of knowledge. This silly mistake could lead to you missing the opportunity of publication or at least a good first impression. If you feel uncomfortable about names in general, you can always begin your letter with "Dear Editor." Using a personal name is still considered the best option, so choose Dear Editor rarely. Here is a partial list of some of the names that we’ve run across over the years. Can you tell whether you should choose Mr. or Ms. when addressing your submission? Remember that the wrong assumption may cost you that good first impression.
© Writer’s Relief, Inc. 2007
Pursuing Jesus Above All
Psalms 63:1, “O God, you are my God, earnestly I seek you; my soul thirst for you, my body longs for you, in a dry and weary land where there is no water.” (NIV)
Devotion:
There is a tale of an elderly woman in the church who served the Lord for years. Instead of seeking the help of others, she did most of the work herself. She was head of women’s ministry, taught Sunday school, sung in the choir, was on the prayer team, and counseled the pastor on a regular basis. She was tired, worn out, and longed for heaven. Yet, because there was still so much work for her to do, she feared that she would never die. Eventually she did die. I guess God wanted His job back.
Nevertheless, from the perspective of most, today’s successful leaders, whether in the Christian world or secular, are much like this woman.
Somewhere between her calling and service to God she took over, rushed ahead, and set her own agenda. It happens to the best of us. In our service to God we can easily slip into pursuing ministry instead of pursuing Jesus, and miss the purpose of our existence. The same is true in every facet of our lives. The pursuit of happiness, opportunity, or even being a good parent, can get in the way of simply pursuing Jesus.
What are you pursuing? What is it that you really want? Is it a successful career that you covet? Is it to be a musician, a doctor, or to author a book? Maybe it’s a spouse you’re dreaming of, or the desire to be a mom that you’re longing for. Whatever your dream is, it’s a God-given dream. In addition to giving you the dream, God has also given you what it takes to make your dream come true. We don’t arrive at our dreams by our own efforts, nor can we make them come true all by ourselves. We get there by pursuing God.
I have found in my own life and ministry that when God reigns in my heart, blessings and opportunities pour down faster than I can make them happen myself. The best way to get where you’re going is to surrender your dreams to God.
We are always in a hurry. God never is. While He has given us the vision of what we are to become, it may not be a reality in us yet. We have to let God work in our lives until we are ready. The dream is not what needs shaping. It’s us. God often prepares us for our dreams through adversity in our lives.
Don’t be discouraged if your dream seems unreachable. No matter what your circumstances are, God is at work shaping and preparing you for it. You and I may achieve some sort of success by our own pursuit, but it will never satisfy us like pursuing Jesus and waiting on Him to bring our dreams to pass.
When God alone is our true treasure, reward, and prize; when He is all we long for, seek after, love and adore, then He gives us the desires of our hearts. Only then are we ready to fulfill our purpose. No other person or thing can satisfy us like Jesus or prepare us for our God-given dreams. What are you pursuing?
Dear Lord, You know the dream I have tucked away in my heart. You know how I’ve longed for it to become a reality. I trust You today. I give You permission to work in my life preparing me for that dream. While You work, I will simply pursue You and be satisfied until my dream is a reality. In Jesus’ Name, Amen.
CROSSING THE GREAT DIVIDE—WRITING IN DIFFERENT GENRES
Writers, especially inexperienced and unpublished writers, are usually advised to master writing in one genre at a time, and this is generally good advice. When you're still learning your craft, it pays to focus on one thing at a time. Less often, new writers are advised to experiment in several different genres to discover their strong points. For some, this exploration is a worthwhile learning experience.
The question of genre loyalty is the subject of some debate, but it seems to boil down to personal preference. Many writers prefer to establish themselves in a particular genre. It may be their area of strength, their greatest love, or a combination of the two. If you love horror and read horror exclusively, why not stick to writing horror if you're good at it? If you don't enjoy reading science fiction, why would you want to write it? Some writers stick to one genre out of fear of the unfamiliar, while others simply have limited writing time and prefer to concentrate on one style.
It is not at all unusual for more experienced authors to write in more than one genre, despite being advised against it. Writers who want to be published write for a specific market—they adhere to the context, audience, and purpose of the genre they've chosen, and if they don't write for the market, their work won't sell. When the popularity of one market cools, these authors are prepared to write for the next hot market. They're adaptable, with a good business sense.
Writers cross genres for many reasons. Some follow the trends and write for the market. Some seek the exposure. Others skip over into other genres simply out of boredom or a desire to stay fresh. They feel limited by their genre and seek to break out of their comfort zone. And still others simply enjoy writing in a variety of styles. Sometimes authors write in multiple genres within a single piece of work—they may combine elements of a mystery with those of a historical romance, for example, and this overlap, if skillfully done, can be very successful. And many of the defining lines of genres have blurred in recent years, giving writers greater freedom than ever before. One of the most obvious examples of this is the latest trend, blending mystery with romance.
Many authors adopt pen names to suit their different styles. Perhaps the paranormal writer doesn't want his books to be associated with his Westerns and so pens them under different names. The author who writes both torrid romances and young adult fiction doesn't want her two audiences to overlap, so she uses a pseudonym.
The industry seems to prefer authors who stay within their defined genres—an established science-fiction writer who veers off course and produces a chick-lit novel will likely be pressured by his agent or publisher to stick with science fiction. But there are agents out there who are willing to represent multi-genre authors, and it is not always necessary to have multiple agents for multiple genres. As the lines between genres blur, so will the number of multi-genre agents increase. An established author who can show that she can sell in more than one market will have an easier time finding an appropriate agent, and she'll likely be shown more leeway. Unpublished writers, however, should steer clear of this altogether, and pitch one story at a time.
If you're considering crossing the great genre divide, read widely in the genres you love, and create a unique voice for each. If you're a playwright, try your hand at poetry, or experiment with short fiction if your novel is complete (or stalled). Play around and discover fresh talent within yourself. If you're proficient in multiple genres, find an agent who will represent you no matter what you write. And scoff if you must at the advice of those who refuse to cross that line: sometimes the stories just come, genre be damned!
© Writer’s Relief, Inc. 2007
PUNCTUATING RESTRICTIVE AND NONRESTRICTIVE CLAUSES
Some writers find that the trickiest sentences to punctuate are those that include clauses beginning with words such as who, that, and which. Clauses of this type are called relative clauses, and the key to correct punctuation is to understand whether the clause in question is restrictive or nonrestrictive. Following are some guidelines to help.
First, remember that a clause is simply a group of words that contains at least one subject and at least one verb. There are two main types of clauses:
Independent Clause: Also called a sentence, this clause expresses a complete thought.
Example 1: The boy had been missing for three days.
Subordinate Clause: Like all clauses, this clause contains at least one subject and at least one verb; however, subordinate clauses do not express a complete thought. Instead, they are dependent upon the rest of the sentence for their meaning.
Example 2: The boy who had been missing for three days was found at his friend's house in Texas.
In this sentence, the subordinate clause who had been missing for three days is dependent upon the independent clause (The boy was found at his friend's house in Texas.) In other words, the subordinate clause could not stand on its own as a complete sentence.
Relative clauses are a type of subordinate clause. They often begin with a relative pronoun such as who, that, or which, and they answer the following questions: Which one? What kind? How many?
In example two, because the subordinate clause begins with who, we can also call it a relative clause. It tells us which boy was found at his friend's house in Texas.
There are two types of relative clauses: restrictive (also called essential) and nonrestrictive (also called nonessential).
A restrictive clause is a clause that is essential to the meaning of the sentence. In other words, if you removed the restrictive clause, the sentence's meaning would not be the same.
A nonrestrictive clause is a clause that is not essential to the meaning of the sentence. If you removed the nonrestrictive clause, the meaning of the sentence would stay the same. Nonrestrictive clauses simply impart extra information that is not necessary to the main idea of the sentence.
There are two important points to remember about restrictive and nonrestrictive clauses:
1. Restrictive clauses are not set off by commas. Nonrestrictive clauses are set off by commas.
2. Generally, the pronoun that should be used with restrictive clauses and which should be used with nonrestrictive clauses. The pronoun who can be used with both restrictive and nonrestrictive clauses.
Let's look at some examples:
Example 3: The book that is lying on the coffee table belongs to Cherie.
Example 4: The book, which is lying on the coffee table, belongs to Cherie.
At first glance, these sentences may appear to be very similar. However, their meanings are very different. In example three, the relative clause that is lying on the coffee table is restrictive; it is essential to the meaning of the sentence. It tells us which book out of many belongs to Cherie. If we removed the clause from the sentence, the sentence's meaning would no longer be the same.
In example four, the writer has placed commas around the relative clause which is lying on the coffee table. This clause is nonrestrictive; it is nonessential to the meaning of the sentence. We can tell by the use of the nonrestrictive clause that there is only the one book in the room, and that book belongs to Cherie. In other words, if the nonrestrictive clause was removed from the sentence, the writer's original meaning would be preserved.
Example 5: Bob Jones, who is my next-door neighbor, won the election.
In example five, the relative clause is nonrestrictive. The fact that Bob Jones is the speaker's neighbor has nothing to do with the intent of the sentence, and this clause could easily be removed. The clause is nonessential.
Keeping these basic points in mind will make punctuating restrictive and nonrestrictive sentences much less tricky!
© Writer’s Relief, Inc. 2007
By Sophfronia Scott, "The Book Sistah"
As you progress with your book project and begin to discuss it with others who may or may not have read pages from your manuscript, you'll surely get comments or criticism on your plot, characters, writing style, etc. Some of the comments may make you want to gnash your teeth (what do they know anyway??!) but others might make you go "Hmmm..". What you do next depends on how the comment makes you feel and how well you know your work.
What Are Your Problems?
Why is it important to understand your work? Because you won't recognize an opportunity or an answer if you aren't clear on what your problems are. Here's an example: My current novel in progress is about two sisters. I thought I had to spend a certain about of time and conjure up specific events in their childhood to illustrate the development and depth of the women's closeness. It's important because their future actions are based on their connection. I was discussing this with a friend who very casually suggested the sisters could be twins. Wow! I never considered that! More later on what this idea will do for the story. The point right now is that I wouldn't have given my friend's comment a second thought if I hadn't been aware that the story had a problem in the first place. Here are some examples of issues you might be struggling with:
- How to get your characters from city A to city B in terms of place, or point A to point B in terms of development.
- How to increase the level of drama in the story to make it more interesting to the reader.
- How to introduce a surprise element that works and is believeable.
- Where to begin the story.
- What kind of character you need to fill a missing viewpoint.
If you're not sure, whenever your writing is going slowly or you seem stuck, just ask yourself, "Why is this hard? What specifically am I trying to do and what isn't working?" Write down the answer so you have it in front of you and it's imprinted in your mind. You're more likely to attract an answer before you realize it.
Does the Comment Give You a Way Out?
You'll know the idea or comment you hear is a good one if it brings more to the table than just solving the one problem. With my twins example, for instance, I get an automatic connection for the sisters because they're twins. But I also get added drama, especially if one twin physically hurts the other (does she hurt herself in the process because they've always seemed like one?); I get the potential for surprise if there were secrets surrounding their birth; I get to look at issues of favoritism if one is better looking or more charismatic than the other. See all the potential? A great comment will open many avenues for you. All you have to do is see them!
Does the Comment Light Your Fire?
Don't forget to consider this: How does the new idea make you feel? Like you've been given a ton of bricks to carry? Or like a herd of stampeding cattle couldn't keep you from your computer because you're so excited to get to it and start writing? You'll want to feel excited because you may need the enthusiasm to help you carry on. With my first novel I received a comment that was amazing and I knew I wanted to go with the idea, but it required that I rewrite the whole present day storyline--nearly half the book! Know what? I didn't flinch. I knew the changes would make the book 100 times better. I did it again when my editor suggested I get rid of a character--more work, but the book was much more provocative because of it.
The choice won't always be easy. It might make you rethink your commitment to the book if you can't face that much work. Maybe you need to put it aside and let it--and yourself--rest for a bit. It might take you some time to figure out exactly what it is you're feeling but don't be afraid. You just have to go back to the basics--when in doubt, trust your gut.
© 2007 Sophfronia Scott
1. Does it connect with anyone? The important task for the nonfiction religious book is to take unchanging truth and integrate it with our changing lives a worthy challenge. Editors today are looking for people who are experiencing the heights and depths of life. People who are willing to be in touch with their own passions and concerns. People who connect with the deeper currents of life in general, and more particularly, life in the Spirit. All of us are drawn to these types of people. And when they combine this passion for life, this sensitivity to God's call with the habits of constant reading, reflection, and writing, they are on their way to becoming an insightful and thoughtful writer.
2. What evidence is there to indicate a real need for your book? Who will use it? How will your book compliment or compete with ones already on the shelves? Having a really clear idea of exactly what you are trying to say, and to whom you wish to say it, is essential in writing a nonfiction religion book. Often writers do not have a clear outline, revealing what they want to have happen in the mind/life of the reader. Writers are more concerned with the information they feel they "must share" rather than with meeting a "felt need in the market." Books which speak to the needs and aspirations of people will always have value. Books that help people solve problems, grow in faith, and see a new perspective in life need to be written in every generation to apply the old truths of Scripture and the Christian tradition to the world in which we live.
3. Who is your intended audience? Are you writing with a particular niche market in mind? Too many writers do not have a clear idea of who their market is, so they do not target the book for a specific market. For example, sometimes a book dealing with counseling problems will try to address both the counselor and the counselee; but this does not make sense. The writer might decide whether the book is one which the counselor should use or the person who needs the counseling. In the case of the latter, a book addressed to the counselee might prove to be one that a counselor will give to the client, and therefore it still has a market in both audiences but is addressed to one. Demographics show the biggest sector of the book-buying public is baby-boomer age or a bit older and losing parents, as well as facing or own mortality is a big subject.
4. Are you writing on an issue that could slot you on talk shows and thus establish your name as an expert and writer? How-To books are some of the best selling books for Christian publishers. Do you have a credible platform? Are you marketable? Unfortunately, human interest stories are generally not the type of books that sell unless the author is speaking to 1,000 or more people every week. The book that is on a subject that is of vital interest to masses of people is the one that really sells.
5. Are you qualified to write on your subject, and better yet, have achieved a certain notoriety in your chosen field? The value that a book offers to a buyer is a full treatment of a subject ( more than just a magazine article) from an author who, at the least, is qualified to write on said subject. How have you established your credibility? One editor said, "We receive many, many commentaries on the Book of Revelation or biblical prophecy that are subjective, redundant, and logically inadequate and written by laypersons who have no qualifications, professionally speaking, to be writing on the subject." Buyers rely on your past history.
6. Does your book proposal demonstrate uniqueness/a fresh approach? Editors appreciate authors who can succinctly and convincingly articulate why their book is unique and needed.
7. Have you clearly proved how your book meets "felt needs" and how it improves upon what is already on the market? This takes market research. Inadequate research to determine existing books on a particular subject is often a problem for a novice author. Be aware of who else writes in this field. Read as many books as you can by those who have been successful in your genre. You can't write in a vacuum.
8. Is your query letter/cover letter to your book proposal the best letter you've ever written in your life? The craftsmanship of the finest carpenter who with care and commitment to excellence structure the finished product piece-by-piece. Editors appreciate careful attention to detail.
9. Have you secured some impressive endorsements to include with your book proposal? You should! At least have names, addresses, and emails addresses of those important people who have offered to provide book endorsements.
10. How readable is your book? Are you a good storyteller? Don't write to write. Write to say something. Write clearly, write personally, and avoid jargon. Books of substance that capture the reading public's imagination will have a book-buying public. Also, those which are well-written, well-illustrated from a personal experience and well-thought-through from a biblical perspective. Develop fresh approaches that incorporate show-don't-tell techniques that create vivid images for the reader. Keep the writing simple and direct aimed at the needs of people."
WHAT ELSE CAN YOU DO? KEEP NETWORKING. There is a subculture of networking that exists. It's like a pyramid effect. A person who knows and admires your work may tell a few friends. These people will tell other people... or help make the proper introductions for you.
© 2003 by Elaine Wright Colvin, Writers Information Network
Use the following questionnaire to evaluate your own poetry or as guidelines for a critique group. This is designed to follow through the complete process from writing to submission and resubmission. As a guideline, it is not definitive, but may serve well as a springboard for discussion.
1. THE HOOK
Is the title catchy? Appropriate to the mood of the poem? Does the first line grab the reader's attention?
2. SOUNDS
Do the words sound good together? Is the imagery consistent? Have I overworked cliches? Do the sounds give onomatopoeia-like imagery? Does it flow smoothly? Have I removed inversions? Have I used punctuation clearly and correctly?
3. MOOD
Do all words support the mood I'm creating? Have I captured a single experience? Does the beginning draw the reader into the experience? Does the middle build upon the drama or effect of the poem? Does the ending have emotional impact?4. THEMEIs my idea fresh? unique? new twist on old fact? Have I researched to check facts for accuracy? Does each line support the idea in a unified way? Does the last line carry the strongest visual or verbal expression of that idea?
5. RHYTHM
Does the meter fit the theme and moody of the poem? Do the words or word order distract from the natural rhythm of the poem? If the meter has a pattern, is it consistent? If the pattern breaks, is it logical to the thought and mood conveyed? If free verse, do the line breaks support breaks in meaning, in speech pattern, in emotional impact?
6. RHYMES
Are the rhymes contrived? Did I have to change the sentence order or grammatical structure to achieve it? Are they true rhymes? Assonant? consonant? Do they interfere with the overall mood or enhance it? Do they support the rhythm pattern? Is the rhyming pattern consistent?
7. EDITING
Have I cut out everything that "isn't" a poem? Is the theme, mood and pattern followed unified? Does the poem "show" rather than "tell" the message? Does the poem assume the reader knows an important point of the idea? Can this be added? Have I given my idea time to mature so that my final version reflects completeness, tautness, crispness, bursting with energy (restrained or volcanic)?
8. AUDIENCE
Is the poem too personal (poignant) for you to share? Is the poem for people with specific interests? needs? Is the poem theme a universal one? Would it fit in a greeting card? Political journal? Woman's magazine? Children's magazine? Religious Publication? Modern Maturity?
9. PROOFREADING
Are all words spelled correctly? Does punctuation add to or distract from meaning? Is it double-spaced? (Or single-spaced if that fits the requirements of the magazine you're sending to?) Is it centered on the page? Does the format appeal to the eye? If the poem goes to a second page, is it indicated at the bottom of the first page (more or continued next page)? Is the writer's name on every page? Is the writer's name, address, phone number in upper left hand corner of the first page of the poem? Are the rights offered (first rights, second or reprint rights), genre and number of lines (Poetry: 12 lines), and copyright, name and year (c Your Name, 1999) in upper right hand corner of the first page of the poem? Margins: Is there an inch-and-a-half at the bottom? An Inch-and-a-half before the first line on page 2 and succeeding pages?
10. MAILING
Is an SASE (Self-Addressed Stamped Envelope) enclosed with the submission? Is the editors name spelled correctly? Address correct? Are 3 to 5 poems folded in 3rds for a #10 envelope? Are you working on more poems/submissions rather than watching the mailbox for your poems to return? Have you planned a resubmit list; returned poems should be resubmitted within a week?
11. RECORDS
Did you keep a xerox copy of final draft? Did you keep a copy of all letters? Did you record date sent / date returned / where sent? 3x5 card file or loose leaf notebook or manila folders or calendar diary Did you research magazines you submit to by: type of poems preferred (subject matter) audience / readership rhymed / unrhymed / free verse / metered If published, did you record date, issue, remuneration? Are you keeping a folio of published poems?
12. STATUS QUERY
If you haven't heard within 8 to 10 weeks, a status query may be in order. Politely state the name of poem(s), and date submitted, and ask if they arrived in tact. To make it easier for the publisher, send a SASE, or better yet a SAS Postcard where you've typed:Dear Poet: (or your name)_____ Your poem arrived on my desk in tact. Will contact you ASAP._____ Your poems did not arrive. Please send duplicates.
13. COVER LETTER
Not all editors require or want a cover letter. However, if you are required to write one you might include the following:Biographical information: anything related to the poems or magazine interestEducation backgroundFamily (if applicable)Writing experience, published?Research: interviews, books, magazines, questionnairesAudience appeal14. PUBLIC READINGDid you practice intonation and stress for dramatic effect? Did you pick poems appropriate for the kind of audience you will face? Did you rehearse your introduction to your poem? Keep it brief. How idea came or the circumstances. Where published (if appropriate). Do Not Apologize for poem. Do Not Explain the poem Take note of audience reaction, comments, laughter (if intended) for future presentation adjustments.
DOWNFALLS OF POETRY IF YOU HAVEN'T REALIZED WHY YOURS COME BACK1.
Wrong market. Pick carefully when you choose the periodical to which you send your manuscripts. Does it use the sort of poetry you are offering? Are there better markets for what you have?
2. Too long verse. Periodicals that use long poems are scarce these days. Find the limit and keep within it before you submit. Many periodicals now have limits of 20 lines.
3. Tired verse, quaint verse: some poets have a way of writing pretty little nothings that sound as if they were echoes of other pretty little nothings one has been hearing for a long, long time. If you can't write with freshness, putting life and vigor into what you say, and avoiding the old bromides and cliches, just skip it please.
4. Sloppy presentation; poorly written.
5. Too personal, overdramatic.
6. Romance; too sentimental
7. Misspelled words.
8. Failure to polish one's work.
9. Cliches and redundancy.
10. Triteness -- in both style and content.
11. Shallow thought; lacks spark.12. Artificiality, obscurity, superficiality, super-sweet, doggerel, no zip.
WHAT SOME RELIGIOUS PUBLICATIONS LOOK FOR IN CONSIDERING A POEM FOR PUBLICATION:a. One thought -- preferably short and simple.b. Theologically sound yet evangelistic in nature.c. Beneficial to the wide range of DECISION readers.d. Saying something in a fresh and different way.e. Does not preach to the reader.f. Is understandable yet intelligently said.g. If a similar poem or topic has been used recently in the magazine, they will either reject it or file it for future use.h. Correct vocabulary and grammar.i. A clincher or twist at the end.j. They just like it.
Prepared by Elaine Wright Colvin Writers Information Network © 2000-2002 Writers Information Network -- 031023
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- Kajenloca
on Aug. 31, 2007 at 8:28 AM