“Small Press Army”, a tool for poets

This is not a poem, but an announcement.

We’ll, I guess I can

make it a poem.

There is an

atom-bomb

opportunity

shotgun-sparking

smiles on

poets’ lips.

“What is it, you ask?”

The Small Press Army is recruiting troops

to help poets

obtain publication.

Spread word

to help us

recruit soldiers

for the war.

Interview with Jayme Karales

Tell us a little bit about your writing career.

Besides being a giant pain in the ass, it’s been one of the most fulfilling aspects of my life. I’ve always been a writer but it wasn’t until high school that I began to take myself seriously and aimed to get published. Unfortunately, also in high school, I made the mistake of self-publishing a few embarrassing efforts that are now stapled to the internet forever. Lately, though, I’ve been able to let that go and excel at what I do best: dark fiction, opinion pieces, and movie reviews.

What writers have had an influence on how you write?

Irvine Welsh, for sure. I read Trainspotting when I was a teenager and that book definitely left a lasting impact on me. I’m sure a lot of pretentious writers out there will consider this a hacky answer, but Stephen King is strong influence of mine. George V. Higgins is another. These guys operate in different mediums but: Frank Miller, Nicolas Winding Refn, Harmony Korine, and Park Chan Wook, also.

When and why did you start to write?

If you can even consider it writing, I started at the age of 4 or 5. I’d tell my mother to sit down, shut up, and jot down whatever words I was about to speak. I’d rattle off stories, usually involving Power Rangers getting into mishaps with Spider-Man or whatever I was into at the time.

I can’t really say for sure why I started writing. I’ve always had this pulsing urge in the back of my head to tell stories. If I don’t then I become frustrated and it’s hard for me to do much of anything else.

How early did you begin writing?

I began writing on my own around the age of 7 or 8. I had this really old typewriter that I used to hammer out stories on for hours at a time.

Tell us about your writing process.

It’s really not that exciting. I usually procrastinate until 2 or 3 in the morning by looking  at pointless things on the internet. When I finally become sick of looking at cat .gifs I open up Microsoft Word and write until sunrise.

Favorite place to write?

Wherever it’s quiet. I’m not picky about my surroundings as long as there aren’t others around to distract me.

Do you keep a notebook, or do you prefer a computer?

Everything I do is on my MacBook. This baby is my lifeblood. With my upcoming novel, Disorderly, I did have to resort to a notebook for a while though to keep track of the timeline and make sure there weren’t any periodic errors.

I was looking through your blog, Captain Cool As Fuck, and saw a number of poems and pieces of writing. It’s a lot of work to maintain a successful blog. Any tips for writers attempting to start one?

Consistency is key. If you’re a writer and you want to have some of your work read, starting a blog is a great way to go about things. However, if you’re going to blow it off after a couple of weeks or a month because nobody is reading your shit then don’t bother.

If you don’t have the durability to stick it out during the periods where you aren’t getting attention then this isn’t the path for you. Even if your poems, or stories, or opinion pieces– whatever it may be –don’t get noticed right off the bat, you’ll be laying the bricks to a foundation of what’s to come.

If people want to take my advice, that’s awesome. If not…well…more followers for me.

Before Sunrise Press is a quality publisher. Can you give a brief synopsis of the work you had published with them?

I had an eBook, Youth, released under the Before Sunrise Press imprint this past April.

It has since become their top online seller. Youth is a social commentary on the most problematic contemporary issues plaguing our society – corrupted innocence, gun control, and safety in public schools. I feel like there aren’t many clear-cut answers in life and in fiction, you’re often given grey characters who find themselves with a black or white resolve by the end of things. Certain issues are a bit more complex than that and Youth reflects upon that.

I’m actually going to be narrating the audiobook version in a couple of months. That’ll either be a fun or miserable experience.

My debut novel, Disorderly, is set to be published June 10th.  Disorderly focuses on a cancer patient who is given a second chance at life at the expense of eating others. It tackles the topics of cannibalism, isolation, and mental illness and also plays off of the current state of zombie pop culture. It’s probably the most autobiographic piece I’ve ever written, even if it is drenched in over-the-top horror and downright degenerate behavior.

Finish this statement; I think writing should____.

Provoke.

Interview with Sheron Parris

Tell us a little bit about your writing career.

I’ve self-published two stories, entitled, The Dark World, and The Immortal’s Guide respectively. They are a part of a series, that is to have two more books to complete the series in the coming years. I’ve also had a short story published in my college’s newspaper, The Vignette, and have had a poem published upon winning a contest whilst in middle school.

And of course there is the short story recently published with Before Sunrise Press, A Night of Frivolity.

What writers have had an influence on how you write?

Edgar Allan Poe absolutely had an influence on how I write. I first read his stories, The Raven, and the Tell-Tale Heart and was absolutely hooked. All things dark, bloody, and psychologically troubling that I write (mostly the poems I have written), I attribute subconsciously to Mr. Poe. J.K. Rowling was an author I grew up on, and how to tell a story was further expanded with reading the Harry Potter series, naturally.

There are many more authors that have influenced in some way how I write, but those are the two that have stayed with me and have had lasting impacts on my writing style.

How early did you begin writing?

I’ve been writing since I learned how.

My earliest memories of writing include being told to write a story (I forget about what) whilst in elementary school, but I remember writing a fairly mysterious, border-line horror story that included my little brother. It became poems from there whilst in middle school (to the acclaim of the English teachers in the school), and finally full-grown novels at the tail-end of my middle school career where I started writing The Dark World.

What’s your writing process like?

Hmm. I don’t believe I have a process. Well, that is until recently at least.

Before I would only write what came to mind, and I still do to some affect, but now I make it a point to outline my bigger works, expounding on the story as I go. I find, no matter how I try to prepare for the writing journey, that I usually end up writing what comes to mind regardless of the outline sketched out.

What are some specific troubles you have with writing? How do you over come them?

Besides getting stuck in a story, wanting to get somewhere (usually more interesting) than where I am, I do get bogged down with wanting to jump over the hurdle and just write the intense action scene, or the ‘big-reveal’ scene and leave the fairly mundane stuff to someone else (but there never is anyone else, is there). I overcome these nonsensical problems by gritting my teeth and writing through the mundane scenes to get to where I’m going, or sometimes (and rarely), I’ll write the action scene I want to write, realize (usually) that it has no place in the story, and go back and write the mundane scenes anyway.

I’ve been asked a number of times about writing articles on overcoming writer’s block. For our fellow writers looking to “arouse their Muse”, how do you overcome writer’s block?

As I mentioned above, I do get stuck in my writing. I used to get seriously sad about experiencing writer’s block, but recently with my having to write the sequel to The Dark World, The Immortal’s Guide (my fans would not take no for an answer), I learned, the fairly hard way, that there was no such thing as a “Muse,” and that if I was to get paid for writing, it was a job like anything else.

In 2012, I hunkered down and threw away any fancies I had about my “Muse,” and wrote The Immortal’s Guide until I couldn’t take it anymore. I followed the outline I had penned, and within a very stressful year, completed it to meet my deadline. That was when I realized I could write without relying on a “Muse,” to motivate me. But of course there are moments where you can’t get anything out at all. These moments I allow myself to have (if I can spare them). I often go to family and friends for advice on any works as I’m writing them for inspiration as well.

When it comes to writing, do you keep a particular ritualistic schedule, or do you loosely write when the moment strikes?

Now that I’m editing The Dark World, I do make myself try to get at least a few hours of editing in every day if I can. With finals and a puppy to watch over, it is often hard to find time as of now. But I know in the summer I’ll be back to writing every day (or every other day) to get it done.

As for my other projects, I do write when the moment strikes, but as I’ve said, I’ve tried to stop that and write at least every day, and if I don’t, I don’t beat myself up about it – there’s a time and place for everything after all.

Before Sun Rise Press is a quality publisher. Can you give a brief synopsis of the work you had published with them?

When the daring Miss Clarke enters a gentlemen’s club in London on one cold day in January, the year 1714, she is met with a most cunning vampire who would only see her his before the night is through. With several onlookers, unwanted solicitations, and the watching dark eyes of the mysterious Alexander upon her, Miss Patricia Clarke is forced before long to decide whether her desired night of frowned-upon fun is worth the trouble…and the blood in A NIGHT OF FRIVOLITY.

Finish this statement; I think writing should … drive you mad, and inspire you, in-turn, inspiring others to create what they want to create without fear of disapproval or denial.

“The Nude That Stays Nude” by William Logan

Don’t do what all the other little buggers are doing.

Don’t try to make the poem look pretty. You’re not decorating 
cupcakes, Cupcake.

Don’t think you’re the only bastard who ever suffered — just write as if  you were.

Don’t eat someone else’s lunch. For eat read steal. For lunch read wife. For wife readstyle.

Don’t be any form’s bitch.

Don’t think if  you cheat on form or slip the meter, no one will notice. They’ll know and think you a fool. Don’t think it impossible to cheat on form. If you do it well, they’ll think you a genius.

Don’t think if  you declare yourself avant-garde, your sins will be 
forgiven.

Don’t blubber if  you never receive prizes. Look at the poets who won the Pulitzer fifty years ago. See who’s there. See who’s not.

Don’t think you’re special. Stand in a library amid all those poets who thought they were every inch the genius you think you are.

Don’t double-space your lines and think the poem better. It just takes up more room.

Don’t think regret is 20/20. Regret is myopic. Hope is astigmatic. Trust is blind.

Don’t think what you have to say is important. The way you say it is what’s important. What you have to say is rubbish.

Don’t think you don’t have to read. You read in order to steal. Read more, steal better.

Don’t think your poems are good because they sound good read aloud. Get your hearing checked.

Never write poems about poetry.

Don’t play to the audience. Your audience is full of dopes, cheeseballs, and Johnny-come-latelies — besides, they’re laughing at you all the way home.

Don’t think you’ve been anointed by early success. Look at the critical darlings of a hundred years ago. Look at the darlings of twenty years ago.

Never wish you were there. Wish you were here.

Don’t think you can ignore grammar. You need grammar more than grammar needs you.

Never eat the pie if  you can own the fork.

Don’t think new is better. Don’t think new is not better. Don’t think, read. Don’t think, ink.

Poetry is the nude that stays nude.

Never write the first line if you already know the last. The best poem is the unwritten poem.

Don’t break the window before you look at the view.

Don’t think that if you have two manuscripts, you have two manuscripts. You have one manuscript.

Don’t eat jargon, because you’ll shit jargon.

Don’t think poetry is a religion. It’s more important than religion.

3 Nostrovia! Poetry publishing opportunities for poets

1. Guest Blog

The Guest Blog was the first publishing medium Nostrovia! Poetry used.  Poets are published on the Guest Blog, including links to their own blogs/websites, and then have the hell promoted out of them through Nostrovia! Poetry’s social media networks.

If you’d like to see what type of poetry is published through the Guest Blog, you can subscribe for a weekly summary of published poems, and see if your writing makes the cut.

Entry is free.  You can read the submission guidelines here.

2.  Monthly Contest

Originally, the contest was a weekly event, but the stakes have been upped since then.  Each month’s winner is published in a yearly anthology.  The winners of 2013 will be published in an anthology released early 2014.

The winner and their poem is featured on the Poet of the Month page, and then archived indefinitely among the Past Winners.

Entry is free.  You can read the submission guidelines here.

3. Miracle Ezine & Nostrovia! Poetry Micro-Chapbook Contest

Miracle Ezine & Nostrovia! Poetry are working together to host a micro-chapbook contest.  The winner is published in their own Nano Poem Collection, and in an anthology consisting of the winner and 5 runner ups.

Entry is free.  Submission guidelines can be read here.

 

 

You can read a full list of publishing opportunities with Nostrovia! Poetry here.

Cheers!  I look forward to reading your submissions.

 

-Jeremiah Walton

3 Tips For Submitting To Publishers (LitMags, Zines, Blogs, Presses, etc)

1.  Always follow the submission guidelines

For example, at Nostrovia! Poetry, there is a variety of publishing mediums available.  There’s the Guest Blog, the monthly contest, and occasional stand-alone publication calls.  In the submission guidelines, it is asked that in the subject line of the submission email, that the writer includes what they are submitting to.

Nothing annoys an editor more than when a writer submitting does not follow the submission guidelines at all. 

On this note, also make sure to spell check.  Not only is it unprofessional to have grammatical/spelling errors (you’re a writer, right?), it is overall an annoyance.  A couple of misspelled words isn’t the end of the world, but if your manuscript looks like a text message sent by a 14 year old girl to her bff, then you haz a problem. 

 

2.  Keep your cover letters / bios short

Editors don’t want to read your life history, or why your writing is so amazing, or see an extensive list of every place you’ve ever been published.

Keep it simple.  Include a few names of places your work has appeared before.  Be short and sweet.  What sets you aside from other writers?  Where do you live?  Where do you want to take your writing?  Do you have any books out, a website?  

Keep it brief, simple, and easy to read.

 

3.  Don’t Take Rejection Personally

Rejection usually has nothing to do with a personal bias against the writer submitting.  The rejection letter itself is almost always written out in advance, and used for the vast majority of rejected writers.  Receiving one is not the end of the world, and doesn’t mean the publisher hated your writing.  Don’t take offense.  There are plenty of places to submit your writing, and not all of them will want to publish your words.  

If an editor adds a personal note to the rejection letter, usually that means you were damn close to obtaining publication, or at least deserved the honorable mention.  

Also, if they add a couple ideas or tips for a revision, this does not mean they want to see a revision sent in, unless they specifically ask for it, which does happen from time to time.

If there is detailed criticism, that’s okay to.  A writer needs to learn with dealing with criticism.  Take the critic into account, listen to what he has to say, and  go from there.

Writing is an art that grows with you.  As you grow, as a human, your writing grows.  As your writing grows, you grow.  

Cheers!  & Keep writing!

-Jeremiah Walton 

Speaking to Be Heard: or Why More People Do Not Enjoy Poetry

Every day millions of people read the complexity of their friends and heroes from the 140 characters of Twitter, yet would sneer at a haiku.

Thousands of teenagers listen to the same song on repeat for hours hearing a message that mirrors their belief the world is flawed, yet would disdain beat poetry.

To those who read, write, and critique poetry this can sometimes seem like deliberate blindness; denying themselves the words to fulfil some trend of coolness or normality. However the problem might be that Western society does not train or assist people in experiencing poetry.

Poetry is sometimes lauded as the ultimate distillation of experience into words. Moving beyond the themes and subtexts of the novel into a realm where each word, each syllable, is necessary to the whole

However if each word counts for a scene or a chapter in the story then a failure to understand a single word is to miss so much, and a misinterpretation shatters immersion like a bad commercial break.

Used to the there and gone flicker of modern media, the potential experiencer is tricked by the deceptive shortness of a poem; expecting the easy feed of a news ticker they find themselves in a labyrinth of distorting mirrors.

Even if experiencers understand the words, rhythm matters in poetry: read silently half the meaning remains trapped on the page in the void between words; read aloud for the first time a poem often surprises the tongue and the lungs, words that behaved well in casual speech race ahead stealing breath only to suddenly crash into confusion. It is only after practising a poem, both silently and aloud, that we cease to sound like a bad cover played on cheap speakers.

Where watching a film, reading a book, or listening to music can all be passive poetry demands that experiencers actively participate; it refuses to bow to the demand for instant gratification.

The experiencer who grasps the thread of a poem and follows it to the end finds not freedom but different maze to navigate.

We most often come to new works by finding them next to works we already like: book shops are filled with shelves divided by genre, tags hanging next to staff picks to suggest similar titles; music stores hold racks split by genre, pop-out displays highlighting new bands in your noise of choice.

Poetry, the fusion of writing and music, has neither: Ginsberg sits on the same shelf as Tennyson; wistful recollections of clouds over spring flowers sit next to calls to tear down the calcified prison of a bleeding world; only the comedy verse is free to leave the gulag of Poetry, released on bail to the halfway houses of Humour and Children’s Books.

Maybe you are looking for ways to deal with these issues; and I do have some ideas that might work for me. However, these are obstacles created by a global one-sized-for-all society, so the solutions cannot be general and global; they need a targeted local approach.

For example asking for poetry to be shelved by genre might work in a small book shop but will need a huge effort if your local book shop is a multinational chain. However, getting the genre attached in another way might remove the need; if they are a multinational then their customer reviews will probably populate across continents, so add some suggestions for similar poets to the reviews.

Taking this idea further, as well as getting poems into the hands and ears of new readers look to embed it in other works, like music albums growing from films. Bruce Dickinson introduced a generation of metal heads to the acidic cosmology of William Blake; Iain M. Banks not only takes half his titles from The Wasteland, he also quotes it on section breaks; maybe you can set Wordsworth to a trip-hop beat for your cousin’s band; or spray paint a villanelle on your local graffiti wall.

Or maybe it just helps to know that the rejection is not always personal.

by David Higgins

David Higgins manages Davetopia, a literary blog that provides reviews, updates on the reading realm, and useful posts for readers/writers alike.  

Interview with poet Maggie Mae

Maggie Mae is a talented poet running the blog “Maggie Mae I Just Say This“.  She has a good-sized online following.  If your a poet just starting out, I recommend checking her blog out or asking her for advice (though she does give some in the interview below).  She has been published in The Vein, Requiem Magazine, Record Magazine, and a number of other literary establishments.  Check our her first chapbook from Writing Knights Press.

1)  Tell us a little about yourself.  What are you up to?

Right now I’m in school studying for a Bachelor of Science in Mathematics degree and I’ve just completed my first chapbook, Some Things Ache In The Dark, that will be out in May 2013 with Writing Knights Press. I’m excited for that. That is a goal that I have been working toward for several years. I am in the process of writing a second chapbook.

2)  What called you to poetry?  Who do you write for

I read Emily Dickinson’s poetry when I was young. About 11 yrs old. It was the first piece of writing that I could relate to on a very personal level. A few years later, I was reading the lyrics to Nirvana and realized that it was just a different form of poetry. That opened my mind to the idea that I didn’t have to write “old school” poetry in the style of Emily Dickinson, Robert Frost, etc. All great poetry, but not as relevant to my generation.

First off, I write for myself. I think any true writer does. For an audience, I write for everyone that finds themselves lost, stuck, confused, depressed, lonely, anxious, afraid, excited….emotional. I am always more than excited when someone contacts me and says that they felt like they could totally relate to a piece I had written. It gives me a bit more purpose in life.

It’s something Emily Dickinson left for me.

3)  Who are some the significant influences on your writing?

Definitely Emily Dickinson. Sylvia Plath. Henrik Ibsen. Anne Sexton. Erick Setiawan. There are hundreds. These are my favorite.

4)  Finish this statement: I think poetry should _____________

I think poetry should evoke emotion. Provoke sensation. I think poetry should be a portrait into the writer’s perception of any given situation or circumstance.

5)  You have a good-sized online following.  If you could only pass on one piece of advice to fellow aspiring poets, what would it be

Never, ever, ever stop writing. If you are a writer, it is in you to write. You can’t help it. You will have blocks and plenty of moments that you feel like you have nothing to say, or you will have critics that tell you that you are not a “poet”. But, if it’s what you want to do, then just don’t ever stop writing.

April’s Monthly Contest Winner – Drunk

Happy National Poetry Month!  As usual, due to a high volume of quality submissions, there was difficulty deciding this month’s winner.  M.K. Sukach’s poem Drunk pulled through just a strum stronger than the others though.

Steven Fortune won 2nd place for his poem, Rubbing One-Off, and 3rd place was won by Peabody Winston for his poem, Thank God I Know Him.

I hope you enjoy the victor’s poems!

If you’re looking for other publishing opportunities, there’s a micro-chapbook contest hosted by Nostrovia! Poetry & Miracle Ezine you can check out.  Here’s the information page and submission guidelines.
Cheers!
-Jeremiah Walton

Ernest Hemingway Quote

“Writing, at its best, is a lonely life. Organizations for writers palliate the writer’s loneliness but I doubt if they improve his writing. He grows in public stature as he sheds his loneliness and often his work deteriorates. For he does his work alone and if he is a good enough writer he must face eternity, or the lack of it, each day.

For a true writer each book should be a new beginning where he tries again for something that is beyond attainment. He should always try for something that has never been done or that others have tried and failed. Then sometimes, with great luck, he will succeed.

How simple the writing of literature would be if it were only necessary to write in another way what has been well written. It is because we have had such great writers in the past that a writer is driven far out past where he can go, out to where no one can help him.”

-Ernest Hemingway, 1954 Nobel Prize Speech

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