MAY YOU LIVE IN INTERESTING TIMES
I was lucky enough to visit the Venice Biennale last Sunday and wentr to the Giardinio and Arsenale. It’s quite overpowering 5 and a half hours looking at art from names who are totally unfamiliar. I won’t go through them all but the tone was set with the Belgium display by Jos de Gruyter and Harald Thys. A display of automated puppets some of whom in the centre represent an ideal world (craftsmen, muscians etc) and other around them from the real world behind bars (poets, dropout, zombies etc). In additional each character is given a mini biography which made me think that we all live and are true to our own stories. It’s like an anthropological experience of an older and utopian Europe.https://artreview.com/previews/2019_venice_questionnaire_jos_de_gruyter_and_harald_thys_belgium/
THE WEATHER IN NORMAL/LIGHTBOX
Thursday saw me catching the bus into Guildford (and seeing Paddington Bear) then train to Woking for another Open Mic at The Lightbox. 18 people in all, come to read their poems and listen to Patrick Osada. Greg Freeman did the honours in the first half while I did the packed second half and almost got carried away thinking of AA and the poets sitting around sharing their poems/stories. We finished with time to spare with a few poems by Kitty Coles. I enjoyed very much both hearing the poems and talking with those attending.
The next night I travelled to Waterloo and stopped off at the Poetry Library to get some books and look at a reconstruction of WS Graham’s cottage and workplace.W Then onwards to The King & Queen for the London launch of Carrie Etter’s fourth collection, The Weather in Normal, with guest readers John Clegg (who introduced proceedings), Kathryn Maris, and Jane Yeh. I sat in the front row and noticed that the person next to me had the same book I’d just borrowed, it was Kathryn. We talked until it was time for the readings. Kathryn and Jane had two poems each while the lovely Carrie had 10 mins and read brilliantly with emphasis on space and pacing. After that was able to catch up with Susie, wave at Tammy, Jill, before talking to Carrie.
Questions after of course but they had in common an active social side and a love of sharing poems
.
TRILOOP
- each line has two or more parts
- each line has a break somewhere near the middle
- each stanza contains three lines
- each poem can contain any number of stanzas
It can be demonstrated as follows where A, B, C are three successive phrases that make a sentence or stanza and are repeated exactly as follows-
line 1: B+C
line 2: A+B
line 3: A+C
never going to be loved or adored
like an exquisite keyboard
a xylophone of bones
never going to be loved or adored
a xylophone of bones
like an exquisite keyboard
FREE VERSE
22 September at Senate House in London. Saw Susie Campbell outside Poetry Library. Went the wrong way past the British Museum luckily bumped into Anna-May, sidetracked when I arrived into reading with Tami. Hall much bigger and good room for readings. Shame it wasn’t in the programme (just the name of the publisher). Like meeting FB friends-Todd Swift (send him poems on Tuesday), Greg Freeman, Clare Saponia, Tim Ades, Adam Horowitz, Dino Mahony, Jeremy Page, Michael Bartholomew-Biggs. Arrived at 11 and left a few hours later with too many books.
My Few Don’ts
Here are a few I found that make sense –
- Don’t assume that free verse, now the default mode of poetry is equivalent to the practice of cutting prose into lines. Greeting cards, advertising copy, political and cultural mantras are split into lines as well.
- Don’t take yourself so seriously. In the age of social networks, of endless information and missinformation, “sensitivity” and the “true voice of feeling” have become the most available of commodities.
- Don’t underestimate the importance of a sense of humour, of irony. Remember that satire, mock-epic, and burlesque are hardly inferior forms of poetry.
- Don’t do what everyone else is doing. Create your own form.
- Don’t think you’re special. Don’t think you’re the only one who’s ever suffered.
- 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 write to please others, write to please yourself.
- “The mastery of any art is the work of a lifetime…poetry is an art not a pastime.” Ezra Pound
- Don’t be bored, don’t be lazy, don’t be trivial, and don’t be brown and don’t be proud. The slightest loss of attention needs to death. Frank O’Hara, 1964
- Be honest. Otherwise, what’s the point?
THE BLACK DEATH
I’ve sorted poems out to make a sequence but have never written one from scratch so in May I started the journey. I was reading about The Black Death in “The Time Traveller’s Guide to Medieval England” by Ian Mortimer and it struck me how people were the same then as now. The main idea was to pick a current news item, write a poem about it and preface it with an item about the Black Death. Then I got distracted because I could also write a poem about what happened during the Black Death and preface that with a current news story. Or are they the same? Anyway, they all follow the same form – my (still unnamed) 3 line verse form in 4 stanzas. In August 50 poems later, I started to send them out. So for 4 magazines have rejected them, 2 have accepted and 8 are outstanding
BOOK LAUNCH
I’d been to many launches in the past at the Poetry Society and it would make me feel legitimate. Kitty Coles also had a book coming out at the same time so it seemed like a good idea to share the cost of the room. Thought we should have some guests as well to make the evening more stimulating. WOL reviewed the night.
No sweat, it’s cool: verdict on new-look Poetry Cafe as pamphlets are launched
This is a picture of a happy audience in the new-look basement of the Poetry Café on Saturday night. There’s no doubt that the old downstairs at the Poetry Cafe in London had a ragamuffin identity – and aroma – all of its own. There were those who loved its sweaty ambience, although I was not one of them.
Maybe there will be some who lament that something has been lost amid the bright white surfaces of the new-look café, upstairs and downstairs – an expensive refit by the Poetry Society that has taken the best part of a year to complete. But an atmosphere is not just its surroundings, it is the feelings and inter-action generated by quality poetry and an appreciative audience. And judging by the bonhomie engendered on Saturday night, the new-look café is already a hit.
We were there for the joint launch of pamphlets by Rodney Wood and Kitty Coles, pictured – both regulars at Write Out Loud Woking. (Rodney is co-compere). Their readings were preceded by contributions by guest poets – Melanie Branton, Maggie Sawkins, Grant Tarbard, and myself.Melanie was first up, her performance, as befits a slam champion, delivered without any reading aid, and laced with witty “syntax evasion” wordplay. There were also strong fairytale elements – of which, more later – including a poem about a gingerbread house, written from the witch’s viewpoint.
Award-winning poet Maggie Sawkins read several poems from her collection Zones of Avoidance, including one about a night when she interviewed her favourite band, another from the point of view of a stone, and ‘A Dog Asleep in the Crook of your Arm’ – the title says it all.
Second-half guest poet Grant Tarbard used to edit a well-loved print and remarkably illustrated online magazine The Screech Owl, both before and after he suffered a stroke that left him in a wheelchair. His poems on Saturday night included ‘Triptych’ – “I have had three deaths, / one for each decade” – and ‘Body’ (“I have been a life without a body / sitting slumped in silence and imcomplete”. They are included in his newly published Rosary of Ghosts, to be launched at the Poetry Cafe next month. The poems in it have been described by Martin Figura as “threaded through with pain; the gentle and abiding love in them carries us through”.
I felt obliged to include a poem about Waterloo station in my guest-poet set, given the struggles some poets and audience members had had to get to Covent Garden, thanks to the ongoing improvements at the London terminus that were meant to have been completed by the end of August, and are now continuing at weekends until the end of November … but don’t get me started.
The final poet of the evening, Rodney Wood, pictured, was a revelation. As co-compere of Write Out Loud Woking, I reckon I know him fairly well, and am acquainted with the tercets he often writes involving repetition of lines and phrases – a style I believe he has initiated, and has dubbed his “little poetry machine”. But the said tercets in his pocket-sized, limited-edition chapbook Dante Called You Beatrice took me aback, in their lyricism, heart-on-sleeve charm, and in the hypnotic quality of the repetition, which works both on the page, and even more so in performance.Rodney is a poet that has been around for a while, and consequently seems to know almost everyone on the poetry scene. In his introduction he spoke of the generosity that he has found and valued in the poetry world – and he was certainly generous in his introductions to his fellow poets on Saturday night. It make me realise that what can be lacking at some launch nights is someone to introduce the launch poets themselves – and hopefully this review can partly make good that omission.
In that regard I must also pay tribute to the qualities of Kitty Coles, a younger poet whose name pops up very often in poetry magazines. She was launching her pamphlet collection Seal Wife, which was joint winner of last year’s Indigo Dreams poetry pamphlet competition. Her gothic, unsettling poems using stories and characters taken from fairtytales and myths create a particular world. Her style is cool and controlled, even if the subject matter is the darkness on the edge of town. They are poems that are outside the comfort zone; that is their point.
She disclaims any autobiographical element. Introducing one poem, ‘Black Annis’, with its references to “rag and bone”, and “gowns of skin”, Kitty said: “People can’t possibly think this poem’s about me.” She described another, ‘Peter the Wild Boy’ as “the only one that has a tenuous link with real life”. Other titles included ‘Poltergeist’, ‘Osisris’, ‘Banshee’ and ‘Forest’. We will be hearing more from her, and about her, and one day be saying: “Kitty Coles? She used to read at Write Out Loud Woking, you know.”
As we walked back past the anti-terrorism barriers on Waterloo bridge afterwards, I reflected again on the changes at the Poetry Café – smart new toilets, and extra space in the café upstairs, too. And Grant Tarbard’s verdict on the access facilities? “The only addition to what was already there (disabled toilet and a lift, which are fine) is a slightly awkward ramp. At least it’s a small improvement – and it’s the only poetry venue that I know of in London that’s fully accessible.” From today (Monday 18 September) the Poetry Cafe is open from 11am, Monday to Friday, and on some Saturdays, too.
Greg Freeman
THE BOOK ARRIVES
Early August Mark, The Red Ceiling Press, sent me a PDF copy to look through for typos/formatting corrections. I found a few of those and made a few changes myself. After 5 attempts it was signed off on the 6th and I could go on holiday for two weeks. On 1 September 50 copies of the booklet arrived and are sitting beside me. Before the hols I was also thinking about the launch. London I thought, maybe the Poetry Cafe. It so happened that a friend, Kitty Coles, also had a book coming out at the same time. We pooled resources and got the Cafe (£65 for 2 hours) which would be handy for people to get to. We didn’t fancy spending all that time reading ourselves so thought about having friends reading. Greg of course, and Grant (who also has a book coming out and is disabled – Kitty works for a disabled charity). Kitty choose Melanie Branton (a friend of Robert Garnham) and Maggie Sawkins (also known and loved by me) – poetry is a small world. On 1 September it arrived in a sealed plastic envelope. Had a few drinks that night. Next day posted some copies off for review. I posted Raul a few copies to Mexico City, a few days later there was an earthquake, just saying.
CHAPBOOK BLURB
My first preference is for none at all but then I thought maybe I should put down something about myself that shows I’ve been active in the poetry bubble. But should I also say how my little poetry machine works? A friend answered he was more interested in the end result rather than a Haynes type breakdown as to the process. No then. I have a couple of nice things some poetry mags have said about my poems so why not take them out of context and use them? I thought about Arthur Smith sending me an email – well done that man. I could have sent it out to friends of course but that can wait for a collection. The title of the chapbook comes from a book by Paul Potts (no, not that one), perhaps the most romantic book I’ve ever read. A few relevant quotes. Anything else? The cover. The final choice was a painting by Raul Cordero whose work I first saw when on holiday. I liked the three part structure, what was said and unsaid, the missing parts and the ghosts. There had to be some legal stuff about permission to use the painting.
Rodney Wood
Lives in Farnborough. He left school at 16, obtained a degree with the Open University, worked in the civil service and retired early. Since then he’s organised poetry reading and workshops, volunteered at his local arts centre in Aldershot, and performed in various venues, including the South Bank. Recent work has appeared in or is forthcoming from publications including Brittle Star, Envoi, The Journal, Magma, Prole, South, Stride and Tears in the Fence.
His work has been described as “innovative and moving” by Envoi and “powerful” by Chicago Review
“A lover that is not loved is a river which can never get to the sea…you have no more right to ask me to fall out of love with you than I have to expect you to fall in love with me.” Paul Potts
Cover by RAUL CORDERO “Per la vostra sicurezza”
2000. Oil and polyester on canvas
200 x 140 cm
Private Collection, New York
Photo courtesy of Raúl Cordero Studio and Mai 36 Galerie
ONLINE PROOFREADING
Used grammarly.com online-spellcheck.com and slickwrite.com Found some passive voices, an “I” on a line by itself, some “‘” missing and some spelling mistakes. So very useful even after going through them before with a fine toothcomb. I used one which said my writing contains too many poor quality phrases and I have below average vocabulary usage.
RED CEILING PRESS
They “publish contemporary poetry in the form of limited edition chapbooks. We like innovative, experimental and avante-garde poetry in particular.” I am very grateful, and surprised, that Mark Cobley decided that poems made by my little poetry machine fitted, especially after reading the prose poems of Gareth Twose and Katherine Sowerby. Now I’m close to sending 32 poems off, well Thursday actually. I did start with a few more but realised some didn’t fit and others were just bad. If anyone wants a look to spot typos, grammar errors and so on drop we a line with your email address and I’ll wing it your way.
PAMPHLET
This year I thought it about time I approached some publishers about a pamphlet. I soon found out most weren’t taking on any new work but some were. Eventually, someone replied saying they like my work and if I could add some more poems over the summer they’d be happy to publish. So I must do that and think about cover image, biog, blurb and review (for the back cover) of DANTE CALLED YOU BEATRICE. So thanks to everyone who helped me get this far and especially to Carrie Etter (who set me thinking of a new form), Todd Swift (who introduced me to new poets and gave me encouragement), Greg Freeman (who’s been a good friend and enthusiastic about poetry in general) and David Cooke (for his encouragement). The inexpert photo blow is a cut-out by my friend Dick Boulton.
My Joy
Nunc Dimittis, James Laughlin
Little time now
and so much hasn’t
been put down as I
should have done it.
But does it matter?
It’s all been written
so well by my betters,
and what they wrote
has been my joy.
and so much hasn’t
been put down as I
should have done it.
But does it matter?
It’s all been written
so well by my betters,
and what they wrote
has been my joy.
James was an heir of his family’s iron and steel business. He majored in Latin and Italian at Harvard and studies at Ezra Pound’s “Ezuversity”. In 1935 Pound persuaded the young man to give up his poetic ambitions and “do something useful,” like publishing. The result was New Directions who went on to publish WC Williams, Henry Miller, Dylan Thomas and Delmore Schwartz among others.”It is better,” James wrote, “to be read by eight hundred readers and be a good writer than be read by all the world and be Somerset Maugham.” I didn’t like poetry at school and only started reading it in my late 20s. My guide was Martin Seymour-Smith’s monumental “Guide to Modern World Literature” which introduced me to such stunning writers as Trakl, Vallejo and Mandelstam as well as the poetry of Spain, Italy and Eastern Europe. It’s impossible to compete with them so the joy lies in reading them. The only thing you can do as far as writing is concerned is be yourself and discover that maybe there is something only you can say. It has taken me a lifetime to get there.
Post-truth
Post-truth is a wonderful word. In the poetry world for example anything that you publish yourself has become “published”. To quote the bible, not something I usually “Vanity of vanities! All is vanity.”
POETRY VANITY PUBLISHING
“Personally I can’t get very excited about this controversy over whether XYZ is a mainstream or vanity firm or something in-between.”
“Never pay to get your poems published.”
“Poetry is too marginal proposition to be worth serious attention”
“The majority of the contemporary poetry industry, insofar as it has a business model, is based on extracting money from writers, not giving it to them. ”
1. DEFINITION
Vanity is excessive pride in or admiration of one’s own achievements and as such applies to both the author (who wants to get their work into print) and the publisher (who is made to feel important, worthwhile, gains pleasure or kudos in publishing his/her work and those other others). Vanity Publishing is a term coined by Johnathon Clifford in 1959/60 and the definition is “Vanity publishing, also self-styled (often inaccurately) as “subsidy”, “joint-venture”, “shared-responsibility”, or even “self” publishing, is a service whereby authors are charged to have their work published.” Generally speaking they will accept the work of anyone, charge the author for the production of their work and/or the author must purchase X copies of their own book. However, where do you fit print on demand, different types of subsidy publishing and self publishing services offered to writers – editing, proof reading, cover design, printing and marketing?
2. EXAMPLES FROM THE PRESS
Publish through …… Avoid the vanity press. All categories considered. Combined Editing and publishing package. Your book never out of print and for sale in all major UK &US on-line bookstores, including Amazon and Barnes & Noble.
Authors invited to submit manuscripts all categories including poetry. New authors welcome.
Writing prize for short story or poem any length up to 2500 words. Theme refugees and peace-seekers. No entry fee. Closes 31n March.
Free poetry contest, max 21 lines, £50,000 in prizes.
Best submissions will be published in an anthology
Poems on any subject required for anthology.
A proven reading/criticism service for new and published writers. Professional appraisals of … poetry. I am a scout for a leading literary agency.
If you’d like to develop you poetry, then this course is for you.
Creative writing weekends from £240.
To be considered they must buy one of our publications.
3. VANITY PRESSES: THE GOOD
- You don’t have to convince the poetry editor to accept your book.
- You have exhausted all other publishing possibilities (that is, being turned down by too many publishers) and, having worked long and hard on your poetry collection, want to see it published.
- Writing poetry is a pleasurable hobby which you have enjoyed and you use a Vanity Publisher to provide copies of your book which you can then give to friends etc.
- You don’t want to spent a huge amount of time or have a lack the expertise of book production.
- You can get the book published in in two or three months instead of two of three years.
- You have control over what’s included in the final manuscript and a say in book production.
- You may do a lot of open mic readings or are going to a festival and need to have a number of books to hand in order to sell to people who enjoy your work.
- You make more money per book.
- It may of course get picked up by a commercial publisher but this is unlikely.
- It allows publishers to accept more poets, have more writers in print with less overall risk.
- The publisher no longer has to finance the entire project.
- You may want to use a particular imprint and have them as the publisher of record.
4. VANITY PRESSES: THE DOWNSIDE
- They target new writers, amateurs, beginners, who just want to see their book published
- They print anyone
- You have to bear the up-front or set-up costs
- You pay for “extras” such as edits, custom cover design, formatting, publicity etc and they still offer you a low percentage on your book’s earnings
- Unfulfilled promises esp marketing
- You probably won’t get any/or the same level of editing/proofing as with a proper publisher
- Most magazine editors won’t review the books
- You’re totally responsible for marketing and distribution
- Won’t help much if you’re interested in a career as a serious writer as it does not offer validation for you as a writer
- Publishers make money from the writer who buys their own books but they give the writer a small number of free copies
- No editing of the poems
- Some presses are misleading and pretend to be traditional publishers
- You don’t know the quality of the finished book
- No bookstore distribution
- You must buy a book from the publisher before they will consider you
- Reading fees for prospective writers
An editor calls me pretentious
to answer your questions about being pretentious I need to go back to 2013 when I wrote a poem using three line stanzas. It was a decent poem but it did not excite me. So I thought of John Ashberry and pantoums, the blues and a recent painting by Raul Cordero. The original stanza lines in the poem
1
2
3
became the new lines
1 (made up of the old lines 2+3)
2 (made up of the old lines 1+2)
3 (made up of the old lines 1+3)
I was struck at how powerful the tercet now sounded as the rhythm and rhyme became intensified. So I applied it to the other 3 line stanzas in the poem. The next problem was how to capitalise the start of lines and how to punctuate? It would look silly capitalising the original line 1, the new line 1 would be at odds with how the poem was put together, and as I’ve always used a lower case in the start of each line unless it was the start of a sentence. It was a no brainer. Luckily the stanza is end stopped at line 3, so as there is a line break and a blank line there’s no real need for a full stop. However I still need to indicate a pause between line 2+3, 1+2 and 1+3. I tried putting them on separate lines but I preferred the three line structure (must be the catholic in me), commas didn’t look right, spaces meant that some of the lines ran over, stepped lines would almost do the job but then magazines could not print them easily and it did look a little pretentious. I wanted something simple and straightforward. When I read the poem out loud I used a red slash to indicate a pause and a slash is actually a punctuation mark known as a virgule – offset by spaces to either side is used to mark line breaks when transcribing text from a multi-line format into a single-line one. It is particularly common in quoting poetry, song lyrics, and dramatic scripts, formats where omitting the line breaks risks losing meaningful context. I settled with that. It’s sharp, simple, looks good and does just what I want it to.
As to the lower case I. A few months ago I read “milk and honey” by rupi kaur. I liked the way it seems to bring a level of equality (both in the poem and in the social hierarchy), deflate the ego and make I=we. In these particular love poems that was exactly what I wanted.
Clear reasons I think. Poems using the same form as this (only not using the lower case I) have been published in Tears in the Fence, The Journal, Message in a Bottle and are forthcoming in Envoi and Brittle Star. Interestingly the editors did not ask about the repetition or the virgules
VANITY PRESSES- THE GOOD THINGS
- you don’t have to convince the poetry editor to accept your book.
- You have exhausted all other publishing possibilities (that is, being turned down by too many publishers) and, having worked long and hard on your poetry collection, want to see it published.
- Writing poetry is a pleasurable hobby which you have enjoyed and you use a Vanity Publisher to provide copies of your book.
- You don’t want to spent a huge amount of time or lack the expertise of book production.
- You can get the book published in in two or three months instead of two of three years.
- You have control over what’s included in the final manuscript and a say in book production.
- You may do a lot of open mic readings or are going to a festival and need to have a number of books to hand in order to sell to people who enjoy your work.
- You make more money per book.
- It may of course get picked up by a commercial publisher but this is unlikely.
- It allows publishers to accept more poets, have more writers in print with less overall risk.
- The publisher no longer has to finance the entire project.
- You may want to use a particular imprint and have them as the publisher of record.
POETRY AND VANITY PUBLISHING
“Personally I can’t get very excited about this controversy over whether XYZ is a mainstream or vanity firm or something in-between.”
“never pay to get your poems published”
“Poetry is too marginal proposition to be worth serious attention”
1. DEFINITION
Vanity is excessive pride in or admiration of one’s own achievements and as such applies to both the author (who wants to get their work into print) and the publisher (who is made to feel important, worthwhile, gain pleasure or kudos in publishing his/her work and those other others. Vanity Publishing is a term coined by Johnathon Clifford in 1959/60 and the definition (as accepted by the UK Advertising Standard Authority) is “Vanity publishing, also self-styled (often inaccurately) as “subsidy”, “joint-venture”, “shared-responsibility”, or even “self” publishing, is a service whereby authors are charged to have their work published.” Generally speaking they will accept the work of anyone, charge the author for the production of their work and/or the author must purchase X copies of their own book. However, where do you fit print on demand, different types of subsidy publishing and self publishing services offered to writers – editing, proof reading, cover design, printing and marketing?
2. EXAMPLES FROM THE PRESS
Publish through …… Avoid the vanity press. All categories considered. Combined Editing and publishing package. Your book never out of print and for sale in all major UK &US on-line bookstores, including Amazon and Barnes & Noble.
Authors invited to submit manuscripts all categories including poetry. New authors welcome.
Writing prize for short story or poem any length up to 2500 words. Theme refugees and peace-0seekers. No entry fee. Closes 31n March.
Free poetry contest, max 21 lines, £50,000 in prizes.
Best submissions will be published in an anthology
Poems on any subject required for anthology.
A proven reading/criticism service for new and published writers. Professional appraisals of … poetry. I am a scout for a leading literary agency.
If you’d like to develop you poetry, then this course is for you.
Creative writing weekends from £240.
To be considered they must buy one of our publications.
TRIBES
I’ve finished another of the novel and have started reading about deep third person POV and this set me thinking about imagined communities, that of poetry and prose. I like poetry. A great place where everyone is helpful, there are different genres, specialized magazines, publishers, readings, workshops, competitions, books showing you how to write and so on. Writing poetry has made me aware of using senses, how to be concise, use sound, voice, imagery and how to edit. As Hugo Williams said “if you can’t write poetry you can’t write prose.” I’ve been an active member of this community for the past 30 years.
Unfortunately, I had an idea. I wanted to write something longer than 40 lines. I wanted to do something with characters, that has a plot and theme. I even had a title, The Poet Assassin, and a tag line. So I sat down and started the solitary business of writing and finished up with a 60,000 word draft. Great I thought, now I can find out how I should have done it and what to do next. A visit to the local bookshop for advice was overwhelming and confusing, as was a search of the internet. Lots of names being thrown about, jargon, do’s and don’t’s. It was a different world, a different community.
A look at my bookshelf shows BANG SAID THE GUN next to THE FORWARD BOOK OF POETRY, JOHN HEGLEY next to THOMAS HARDY, and ELVIS MCGONAGALL next to OSIP MANDELSTAM. Page vs stage, academic vs lay, cooked vs raw, pale vs redskin, open mic vs serious, doggerel vs hardcore poetry. Different communities and tribes where trading relations haven’t yet been worked out. The big question – where do I belong in all this?
THE INFO DUMP ABOUT VANITY PRESSES
Another milestone is always reached. In my case it’s another chapter. The revision is not looking at a checklist but rather just reading and making changes along the way. Thinking for example that chapter 6 could be from the viewpoint of Maggie to save a run of 4 from Bill’s viewpoint. But chapter 10 will be an information dump about vanity presses, still can’t be helped although I should try and just keep it to the business end and have Daniel and his friends talking about POD and subsidy publishers. This week I want to get at least to chapter 13. So by my birthday I should have revised to the end of Part 1 (chapter 55) and should start on Part II which will be about how Bill is forced to assassinate members of the poetry world by Hannah and how he’s hunted by the police
When writing poetry feedback is quicker. There are workshops and it’s easy to send them by email to magazines. It’s also a medium I’m quite happy working in. It’s a nice place and the world would be better if more people wrote, but that will do for another blog.
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