The Writer Aid Blog is Moving On

Dear writers, you might notice that I haven’t been posting here lately. Or maybe you haven’t noticed, which is the point of today’s post. I have decided to discontinue the Writer Aid blog. I will keep the past posts, resource list, and information about my editing and coaching services online, but the weekly posts will cease. I will continue to publish writing-related content in other publications and occasionally on my Unleashed in Oregon site, but as a few publishers have said to me over the years, this blog just doesn’t “pencil out” anymore.

A quick Google search shows an endless list of  blogs and newsletters for writers. Every writer wants to publish a blog about writing. Nobody can read them all and still get any writing done. The best blogs and newsletters are produced by people who dedicate themselves to that work. Me, I’m scattered all over, with three blogs, a website, Facebook, Twitter, and Goodreads. I’m working on projects in poetry, fiction and nonfiction, as well as maintaining a music career. I have enjoyed sharing my insights about writing here and at the Everything But Writing site that preceded it, but it has been 10 years, and it’s time to move on.

You will not be without resources. Let me recommend some of my favorite sites to check out:

Every year, in the May issue, Writer’s Digest publishes 101 Best Websites for Writers. If you can’t find something there, you’re not trying. Visit http://www.writersidigest.com

Here’s a list from The Positive Writer of top writing blogs that I totally agree with. Click on the links there for advice and inspiration that will keep you writing for years.

At Funds for Writers, C.Hope Clark inspires writers with her articles and extensive lists of contests, funding sources, and publishing opportunities. There’s a free newsletter, as well as a paid version with more listings.

I just found this amazing list at newpages.com of blogs by poets and writers. I could spend weeks reading these blogs.

And poets, Diane Lockward’s poetry newsletter never fails to teach me something and get my pen moving. Click on the link and scroll down to subscribe.

There are more. So many more.

It’s hard to say goodbye, so I won’t. I’m still here. You can reach me at sufalick@gmail.com or come say hi to me on Facebook.

Now, let’s go write.

 

 

 

 

 

 

 

 

 

 

 


Should We Use THOSE Words in Our Writing?

Curse words are rolling around in my head right now. Could be because I’ve watched six episodes of “Orange is the New Black” in the last three days. For those who don’t know, OINB is a Netflix series that takes place in a women’s prison. Based on a memoir by Piper Kerman, it’s raw and wonderful. It has sex, violence and all the words you wouldn’t dare say at church. If my mother were alive, she’d be horrified. My electrician dad, whose language isn’t exactly bland, would turn away in disgust. But I love it, even if it does make me want to say F— in every sentence.

But should I say it? More important here, should I write it? It depends on the audience, whether in person or in writing. I have noticed that when I slip those juicy words into conversation, some people look uncomfortable. Even when I say “freakin’” instead of—you know. Most of them don’t talk that way. Since my day job is at a church, I know I have to keep my language clean when I’m at work or around work people. I also have to watch myself around children, my uber-Christian friends and in any situation where I’m not sure how a stream of curse words will be taken.

One of my favorite expressions (and my dad’s) is “son of a bitch.” It’s a great all-purpose release. Just in case, I’ve been dreaming up other words for the end, like “son of a bean” or “son of a beach bag.” Just like my best friend’s mom used to say, “Oh S….sugar.”

Ages ago, comedian George Carlin had a famous routine in which he listed the seven words you couldn’t say on TV. Now all but about three of them are being said on a regular basis. I’m still surprised when a sitcom character says “asshole,” for example.

The novel I’m reading right now uses all the good words, including the F-bomb. But the thing is, that’s how people talk. Not all people, but certain groups of people use all the forbidden words all the time, just like other people quote the Bible. It feels natural. It would be unnatural to offer plain vanilla language.

Certainly a factual article has no need for questionable language, unless a person being interviewed speaks that way. Even then you probably want to edit it out. In poetry, fiction, essays, and scripts, think about whether you need those words to make the point, whether they feel natural and necessary or awkward and ugly. Share it with someone you trust and see how they react. Are they offended? Uncomfortable? Do the words fit in so naturally that they don’t even notice?

You wouldn’t expect people in a prison, for example, to speak like nuns. Well, actually there is a nun in “Orange is the New Black.” She only curses when she gets really angry. Use the language that’s right for your characters. Some people never curse, some always do, and some make up colorful substitutes. People who don’t even believe in God will blurt out “Jesus!” in a stressful situation.

When you use the so-called blue words, some people will be offended and reject both you and your writing. Even a single word may earn you a rejection. So be careful. As with any question about writing style, read heavily in the genre you write and note the conventions. Does the romance writer refer to a woman’s “pussy” or just “down there”? Does she say, “I want to f— you” or “I want to make love”? If you did a search, would you find a single word your grandmother wouldn’t approve of? If you want to publish in that world, do likewise. Keep it clean or don’t, depending on the market. If you’re writing porn, go for it. If you want to publish the next bestseller from one of the major publishers, maybe you want to go easy on the R-rated words.

And if you decide to watch “Orange is the New Black,” don’t let your kids or parents watch it with you.

Here’s great article on the subject by Elizabeth Sims from Writer’s digest.

Another by Mark Nichol: “What the Hell Do You Do About Profanity?”

Now let’s go write.


Print market guides are not enough anymore

Print vs. digital? In the writing world, the conversation about which is best never seems to end. Which is a better way to reach readers? Will print books soon become extinct? Does reading on a screen change how we experience books? Etc.

But in one area, I’m here to tell you digital is better. That area is market guides. For decades, I bought the latest Writer’s Market every year. I also bought the Writer’s Handbook, Poet’s Market, guides to agents, and other marketing books. Having them on paper was handy. I could sit out in the sun and go through the listings, marking the likely markets with paper clips or Post-Its. I could write in corrections and changes I found in my writing magazines or online. I plotted my marketing plans with lists of names and page numbers for magazines, newspapers and book publishers. I loved when the new guides arrived, so full of opportunities.

But here’s the thing. It usually takes a year or longer to publish a book. By the time those books are published, the information they contain has changed. I have been going through my own book, Freelancing for Newspapers: Writing for an Overlooked Market, checking the references, and at least half are out of date. I try to keep my online reference list (which you can access above) current, but I can’t do anything about the print version.

The same goes for the market guides. Editors, addresses, and requirements may all have changed by the time you read about a publication. They might not even be in business anymore. So you have to go to their website to get the latest information. While you’re there, you can read as much content as they make available to get a better idea of what they publish. If it all looks good, you may be able to follow a link to a submission form by which you can submit your work right away. Digitally, of course.

The Writer’s Digest company that publishes Writer’s Market and its sister books for poets, short story writers, screenwriters, etc., has an online guide at writersmarket.com. It costs $39.99 a year or $5.99 a month to subscribe. If you find a market of interest there, you will end up clicking through to the publication’s website. Ultimately, you always have to go to the website, so why not start there? Do a Google search for your type of publication, such as “parenting magazines” and follow the links to the ones that interest you. It doesn’t cost a thing and gets you to the latest, most accurate information.

The market books are not useless. Most contain wonderful articles about all aspects of writing and publishing, and you can still take them out in the sun to peruse the possibilities. Just know that that’s not enough. You have to go online. Also know that old market guides that you might find in second-hand stores are not going to be much help.

Do you have favorite market listings that you use? Let’s share in the comments and compile a list, okay?

We can’t send out what we don’t write, so now . . . Let’s go write.


Sometimes It Pays to Volunteer

I seem to have spent the last week working for free. I was teaching at the Catholic Writers Conference online,  something I have done several times before. Every time the organizers put out a call for people to teach workshops and lead chats, I think, sure, that will be fun. As the date approaches, I suddenly wake up and think, oh my God, why did I say I’d do this. It’s going to take so much time, and I’m not getting paid. (sound familiar to anyone?)

This year, I led two workshops, “Poetry Party” and “Power Blogging (their titles). For the poetry course, each day I presented a different poetry form with examples, offered a prompt and invited participants to write and post their poems for comments and critiques. Over the week, I learned more about the various poetry forms, and I wrote seven new poems. This is good!

As for the blogging class, I had wanted to teach this for a long time. I had an outline, but I had not written the lessons. Now, thanks to this volunteer gig, I have been forced put the whole course together. It was hard work, but I can use it for paid teaching opportunities. (See my list of classes at writeraid.net/classes.)

I can also add the workshops and this conference to my resume. So it was not a waste of time. I wrote every day, I made connections with other writers, and I also had the opportunity to participate in all the other classes for free.

The moral of the story is that it’s okay to work for free sometimes for benefits that go beyond money. Just don’t stop writing.

Many conferences are coming up. You can find listings of them at Writer’s Digest or Poets & Writers or Google “writers conferences.” If you want to attend but can’t afford it, think about volunteering to teach, help set things up, make copies, pick up guest speakers at the airport, or whatever they need. It will get you in the door.

Now go write.


Contests as a route to getting published

In recent weeks, we have talked about approaching agents and book publishers to get your book published. Another path to publication is by entering contests. Many university presses and small independent publishers, especially those who do literary fiction, creative nonfiction, and poetry, hold contests in which they will publish the winning books. This can be a huge honor and a stepping stone to greater things in your career, or it may turn out to be much ado about not very much, a handful of copies that no one but you will ever see.

You can find contests in many books and websites. Here are a few: Funds for Writers, Moira Allen’s Writing to Win: Colossal Guide to Writing Contests, Poets & WritersWriters Digest, Freelancewriting.com, and the Creative Writing Opportunities list at Yahoo groups.I  So, you read the listings and find some that sound good. Now you need to answer some questions.

Who are these people?

Who else have they published? Do you like the books they put out? Would your book fit in? Go to their website, take a look at their books and see if it feels right. Then study the guidelines. Do you and your book fit their qualifications? Many contests look for authors who have not published books before or at least not in that genre. Some have requirements for age, ethnicity or place of residence. Others only want to see books that have already been published.

What do they require for entries?

Usually they’re looking for a finished manuscript. Will yours be ready by the deadline? Will it be the right length?  Do they want hard copies sent by mail, email entries, or entries fit into a form? Do they want your contact information on the manuscript, or does it need to be anonymous with a cover sheet explaining who you are. You can lose a contest in a hurry by not following directions.

Is this contest worth it to you? Nearly all contests have entry fees, often ranging from $20 up. If you enter several contest, the fees add up. What will you get if you win? Is there a cash prize? Do they guarantee publication? How many copies will they publish? What rights will they take? Will they pay an advance or royalties? Will they help with marketing and distribution? Are there secondary prizes for runners-up and honorable mentions? Do they offer critiques for non-winners?

If you’re thinking entering book contests sounds like a lot of work, you’re right. It is. But if you win the right contest with the right book, it can be the best thing that ever happened to your career.

You can’t enter a book contest without a book, so …

Now go write.

 

 


How Do I Approach a Literary Agent?

With caution, confidence and consideration.

Caution: A good literary agent combined with a good book can make your career. A bad agent is worse than none at all. And if you annoy that good agent, she won’t want to help you. So be careful about how you approach an agent. Make sure she’s an agent with the ability and experience to sell your book. Make sure she is the right agent for your kind of book. And don’t piss her off with a book that is not ready, that is the wrong genre, or that you have no idea what kind of readers will want to read.

Confidence: If you go in saying it’s not very good and you’ll rewrite it if they want, they’re going to say no. So don’t try to get an agent until you know your novel or your nonfiction book proposal is as good as you can make it and then present it without apologies or excuses.

Consideration: Agents are people. Like you, they have lots of things going in their lives. They get hungry and tired and cranky. So be nice to them, don’t corral them in the bathroom at a conference, don’t call them every day for answers, and if you have the opportunity, offer them a cup of coffee. Best of all, send them the book that will make both of you successful.

Finding agents:

A literary agent’s job is to connect authors to publishers and handle the negotiations. They make sure you get paid and that your rights are protected. For this, they get 15 percent of what you make. If they don’t sell a book, they don’t make any money. So they need you as much you need them.

In these digital days, finding information about agents is easy. Do a Google search for literary agents and you’ll find all kinds of listings and advertisements. But anybody can call himself a literary agent. It’s better to go a reputable source. Most legitimate agents belong to the Association of Author’s Representatives (AAR). Members agree to a list of rules and standards that they abide by. You can search on their website for agents by name or genre.You can also find agents by looking in the acknowledgements of books that you enjoy. Authors often thank their agents.

Several books list agents, including Jeff Herman’s Guide to Book Publishers, Editors, and Literary Agents, Chuck Sambuchino’s 2014 Guide to Literary Agents, and 2014 Writer’s Market, put out by the Writer’s Digest folks. Most magazines for writers, including Writer’s Digest, The Writer, and Poets & Writers, include agents in their market listings.

All of these listings describe what kind of books the agents are looking for and how to approach them. Various agents want mysteries, fantasies, romance, books for children, nonfiction, and other types of writing. None of them want every type of writing. Once you find an agent who likes your kind of book, go beyond the listings to their websites and read everything there. Pay special attention to the titles of books they have already sold. Would your book fit into that group? If not, find a different agent. If it seems like a good fit, then go on to read how they want you to approach them.

Agents’ requirements vary. Some agents ask for just a one-page query while others request longer proposals and/or excerpts of varying lengths sent in varying ways. Some want it all in the body of an email while others want samples sent as email attachments and still others require authors to insert all their information into online forms. Whatever they ask for, send them that, nothing more, nothing less. If your query doesn’t fit on one page, work on it until it does. If you think they should see more than the few pages they request, too bad. Good agents have hundreds of authors approaching them. You want to get their attention with your great writing not with your refusal to obey the rules.

Meeting agents in person

Many writing conferences offer opportunities to meet agents for brief pitch sessions. This can be a nerve-wracking experience, but it can also give you a shortcut to a great agent. Generally authors sign up for five to ten minutes to tell the basics about their books and themselves. Agents give them instant feedback, which can range from “not my kind of book” to “Wow! I’m interested.” If they like the sound of your book, they probably will not accept it on the spot. Instead, they will ask you to send them a query, sample pages or the entire manuscript. As with agents you approach online (or in rare cases, by mail), you should schedule your pitches with agents who represent your kind of books and you need to give them what they’re looking for. You need to be one hundred percent ready to sell your book and confident it’s the best you can make it. And you need to follow all the rules for the pitch sessions. Don’t be late and when it’s time for you to give your chair to the next author, say goodbye. Dress and behave as if this were a job interview. Come in having done some research about the agent and ready to pitch with confidence. If they say no, be gracious, ask questions and thank them for their time. Don’t pitch your book to agents in the restroom or the bar or at meals–unless they ask what you’re working on.

It’s time to wrap up this post. Next week, we’ll talk about how to market your book without an agent. Meanwhile, may all your pitches be successful and your words flow like Oregon rain.

Now go write.

 

 

 


Start Writing Where You Live

I have been reading this great article about setting by Jacob M. Appel in the November/December Writer’s Digest, and that got me thinking about how where we live relates to what we write.

One piece of advice that especially hit home was Appel’s suggestion that we set our fictional stories in places we know very well, places where we have actually lived. With a guilty twinge, I thought about a novel that I drafted a few years back that I set on the other side of the country in a city in Massachusetts that I had visited for a few days. Great place. I took a lot of pictures and notes and always planned to go back and do more research, but can I ever capture the heart of a city where I have only spent a few days? I can gather lots of facts on the Internet, but can I really feel the place in my bones? I doubt it. Locals will know I’m faking it.

The novel I’m just finishing is set right here on the Oregon coast. I’ve been here for 17 years. I know the history, the people, the climate. I know what used to be where Walgreen’s just opened. I know the mayor, I swap critiques with a county commissioner, I have taught at the community college, had surgery at the local hospital, I know what kinds of birds, plants and wild animals live here, and I can name most of the businesses up and down Highway 101. I’m lucky that I live in a place where the natural setting offers plenty of opportunities for drama. I could write stories about the Oregon coast forever.

I come from San Jose, California, which has grown from a quiet farm community into a huge metropolis. You have to hunt for unpaved ground. Traffic, overcrowding and high prices are constant factors in everyday life. It’s a completely different scene, but I know that one well, too. My family lives there, and I visit often. I also know the road from here to San Jose ridiculously well. I’ve got so many places to set my stories.

How about you? Where do you live? What stories can you tell? Can you look at your hometown with the eyes of a visitor seeing it for the first time? Maybe they’re armed with a guidebook that points out the special attractions, but you know more about it than the guidebook. You know where the locals hang out. You know the history, the secrets, and the dangers. You know the language. One of my problems with the Massachusetts story was capturing that distinct New England way of speaking. But I don’t have to stretch to write dialogue from the West Coast. That’s how I speak.

Everywhere can be a setting for a story. For a writer, the whole world teems with stories. With enough research, you can set your story anywhere, but know that if you want to make it real, the best place to start is the place you call home. It may also help your career to become identified with a particular place. Give it a try. Write a story that happens where you live.

Next week: How to use where you live for your nonfiction.

*****

I’ve still got a few copies of Freelancing for Newspapers: Writing for an Overlooked Market available for $10, including shipping. Email me at sufalick@gmail.com if you want to buy an autographed copy.

Now go write.


Now that I’m retired, how do I become a writer, part II

Last week we talked about starting a writing career after retirement. It’s something I see a lot of seniors wanting to do. They show up at writing conferences, take my classes or mention it to me at social occasions. After years of thinking about writing, now they’re ready to do it. But what do they actually need to do?

In my Aug. 8 post, I offered some questions would-be writers should ask themselves: Do I need to make money from their writing, what do I want to write, and what do I know a lot about?

Here are three more questions to consider.

How good are you at self-discipline?

If you want to do more than scribble a few words when you feel inspired, you’re going to need to get serious about your writing. That means establishing a regular writing routine that may sometimes feel like you’re not retired after all. On a regular basis, whether it’s every day or every Tuesday afternoon, you’ll need to commit to sitting down and writing for a specific length of time or a minimum number of words. In order to make that work, you’ll need to set up a place to write and acquire the tools to write with and tell the world you’re not available at that time because you’re writing. This is not easy. Some days, you will not want to write, and some days you’ll have a hundred other things calling for your attention, but if you really want to be a writer, you’ll do it anyway. Just like a job.

Are you prepared to market your writing?

If you just want to write for yourself, that’s perfectly fine. Have fun playing with words, maybe writing in your journal or putting together poems or booklets for your friends and family. That’s a wonderful thing to do. But if your goal is to be published and paid for it, you’ll need to learn how to send out your writing to periodicals and websites, pitch your books to agents and editors, and ultimately sell your books to readers via social media, readings, talks, etc. It’s a lot. It’s not writing. It’s scary. But it’s a necessary evil, and it can be lots of fun.

Are you ready to reach out for support and to learn your craft?

Writing can be a lonely business. But we don’t have to be alone all the time. Writing groups can be found everywhere. Join up with other writers to share information, to critique each other’s work, or just to offer sympathy and support. You can take writing workshops in every state and around the world, as well as online. (I offer a few. Check my Classes page above). Tons of books and websites offer advice for writers. See my Resource page (above) for a list. Magazines such as Writer’s Digest, The Writer, and Poets & Writers offer tons of information about all kinds of writing and places to publish. You can find online groups in every writing specialty. So reach out.

If you really want to be a writer, you can do it. You’re never too old to begin. All you have to do is start writing.

Please feel free to post questions and comments. I’m here to help.

Now go write.


The Joys of Birthing a Book

(If you read my newsletter, you have already read this. If so, skip to the last paragraph and follow instructions.)

When all I can think about is the book I’m currently producing, it seems logical to write about the birth of that book.Childless by Marriage has been on my desk and in my heart for decades. I started interviewing and researching childlessness about four books ago. It has been so long that some of the people I talked to have died and others have had babies, making them no longer childless. Many of us have gone through menopause.

Why has it taken so long? Selling books is a crazy business. I have submitted variations of this manuscript to agents and editors by mail and e-mail and pitched it at numerous conferences. An agent took it on and offered it to all the major publishing companies. The result was always the same: She writes well and it’s an interesting topic, but I don’t see a market for it. To which I wanted to scream, BUT I DO. I know there are people out there who will read it, and I can tell you where they are.

When I started working on this book, e-books/aka electronic books did not exist. “Vanity” publishing was a shameful option and the fledgling print-on-demand industry, which would house your book as computer files that were only printed as books when orders came in, wasn’t much better. The type of self-publishing where you hired pros to set up and print your books cost too much for ordinary people.

Times have changed. Now readers are walking around with Kindles and iPads, and you can publish an e-book for free. That’s right, free. All it takes is a little time. And, with the advances in digital technology, most of us can afford to publish a print book, either through one of many print-on-demand companies such as Authorhouse, Lulu or CreateSpace, or working with a printer on our own. We can download programs to format our books at our own computers. It’s not free, but it’s doable.

Publishing your own work does not have the same stigma it had even 10 years ago.A little over a century ago, self-publishing was common. With the industrial era, big companies took over publishing books to make a profit, and they became the only acceptable option. But now, with the big publishers refusing to take on anything except guaranteed blockbusters and with so many other options, we can take our careers back into our own hands.

That doesn’t mean we all should. Publishing a book does take a lot of effort—they should have Lamaze classes for author-publishers. Trying to get page numbers where they belong makes me crave an epidural for the brain. If a traditional publishing house wanted to take this job away from me, I’d be happy to let them.

Also, the reason self-publishing has had such a negative reputation for so long is that if anybody can publish a book, there’s no guarantee it’s any good. You have to weed through the garbage to find the good books. But if your book is good and you can get people to read it, the word will spread.

Let me be blunt about self-publishing. If your book isn’t well-written and professionally edited, with an eye-catching cover, and professional-quality layout, don’t do it. If you have no idea where or how to sell it, don’t do it. If you’re not ready to put in a lot of work with details such as headers and footers, ISBNs and platform-building, don’t do it. If you are not sure you can trust the company you’re thinking about working with,  don’t do it.

If you’ve never published anything else before, don’t do it, at least not yet. Spend some time building your career first. I wouldn’t dream of self-publishing a book if I didn’t have a long track record.

That said, if you feel that you’re ready, you can publish your own book.

The publishing world is full of advice for self-publishers these days. I’m not going to repeat it all. Visit the writersdigest.com website. Jane Friedman’s No Rules blog,  is loaded with practical self-publishing advice. There’s more at The Writer and Poets & Writers. Google self-publishing and prepare to be overwhelmed with information.

Or, you can purchase a skinny book that tells it all in plain English. I won Katie Salidas’ Go Publish Yourself! last month in a Goodreads giveaway (www.goodreads.com). It wasn’t the book I really wanted, but it turned out to be the book I really needed. I’ve got a shelf full of fat self-publishing books, but they’re complicated and go out of date before I can read them. Everything I need is in Go Publish Yourself!, with lots of practical advice and links to resources that will help you produce either an e-book or a print book.

Which should you do, e-book or print book? Well, I think one should do both. I don’t plan to publish any more books without making an electronic version available. Amazon is selling more Kindle books than print books these days. Why should we leave out all those readers who have stopped going to bookstores because they’d rather read on the Kindle? Or the Nook? Or their iPad or smartphone?

But what about those people who prefer traditional books? And what are you going to sell at book-signings, talks, festivals, in the stores, or out of the trunk of your car? In my opinion, it’s best to have both. Remember, producing the e-book is free. Also, you can take it offline and revise it anytime you want. So, if nothing else, do that and see what happens.

Again, I don’t want to repeat the advice you can find all over cyberspace and the print world. I’m just saying that with the changing times and countless revisions, I can now present Childless by Marriage to the world. Ten years ago, it wasn’t ready. I’m glad those editors said no. The e-book came out on Mother’s Day. You can get it for $2.99 at the Amazon Kindle store. If you don’t have a Kindle, you can download the Kindle reading app on whatever you do have.

Three of my previous books, Shoes Full of Sand, Azorean Dreams, and Stories Grandma Never Told, are also available as Kindle e-books you can download and read today. How cool is that?

The print version of Childless by Marriage is getting a pretty new cover, and I’m almost done wrestling with page numbers, headers, typefaces and such for the inside. I’m thinking it will be out in July, August at the latest.

Come back here for weekly discussions on the various aspects of this book-birthing process and other topics for writers. You can keep up with the latest on the new book at http:/childlessbymarriageblog.com. Blogging is another thing I never dreamed of when this book first started. Who knew? It’s a great new world.

But, beware. All this talk of publishing can distract us from the most important thing. Without the writing, there’s nothing to publish. So, go write. Write now.


Northwest poets converge

I never heard so much poetry in one gulp as I heard last weekend at the third annual Northwest Poets’ Concord in beautiful Newport, Oregon. Approximately one hundred poets gathered to read their poems, write new ones, share techniques and sell books. I came home with drafts of several promising poems, some new books and some new ideas about this business of being a poet.

We all know, or should know, that you can’t make a living writing poetry. Only a few literary magazines and journals pay actual money for poems. Most pay in copies of the publication. You can make some money winning contests, but most charge entry fees, so if you don’t win, you’re actually losing money.

If we can’t make money writing poetry,  why write it? Because it communicates in ways that nothing else can.  It crystalizes experiences, ideas and events into word jewels that can be savored in one sitting and collected in book form like strings of precious beads. The average American probably doesn’t read much poetry, but it’s out there to be enjoyed.

There’s no reason you can’t write poetry while writing other things for money.

A world of resources exists for poets. Let me just give you a few today.

Poets and Writers magazine and website, http://www.pw.org. Poets and Writers offers tons of listings for contests and places to get published, along with lots of great information and an online forum to keep in touch with other writers.

The Poetic Asides blog, http://www.blog.writersdigest.com/poeticasides. Robert Lee Brewer, editor of Writer’s Market and its sister Poet’s Market, blogs here about poetry, offering interviews and information, weekly prompts and bi-annual poem-a-day contests.

Poetry.org, resources for poets, http://www.poetry.org

Poems.com, a new poem to read every day, http://www.poems.com

Happy poeming!