Telling people you’re a writer, discussing your idea for a story but never writing it down, watching a third episode on Netflix and later saying to yourself, There’s no extra time in my schedule to write! talking about writing without actually writing, fantasizing about the day when you’re famous and doing book signings, reading books about writing, criticizing popular authors and jabbering endlessly about how those writers make no contribution to the literary world while you continue to not write anything publishable whatsoever, complaining loudly outside your writer’s workshop that no one “gets” your work, refusing to revise, sharing listicles about things *only* writers understand, complaining about your workload while refusing to shift anything superfluous around so you can actually write, spending your designated writing time tweeting about being a writer, glorifying [insert canonical author’s name] while you trash modern day writers, procrastinating on writing because you’re afraid you won’t be good at it, trash talking presses that rejected you, complaining about how no one appreciates “good” art anymore, using your writing desk as a clothes hamper, tweaking your blog without ever publishing posts, playing with the font, wasting time thinking of a title before you actually write a single word, accumulating “writing” notebooks that you never fill with notes or write in, sitting in a coffee shop with your laptop open to write but scrolling through Buzzfeed instead, laying down at night and dreaming about the day you’ll hold your own book in your hands without actually ever writing.
 
A short list of things that will make you a writer:
Putting words on a blank page.

I’ve been writing for most of my life, but within the last two years, I’ve been published for the first time in a few literary journals. I’ve made a couple mistakes that make me cringe as I look back on them, but we live and learn. I’d like to share three things you can do to prep your poems before you submit, and hopefully you can avoid some mistakes I made.

1. Run it through a grammar check.
It doesn’t matter how much you’ve edited. You’ve looked at your work so many times that your eyes might be missing something. Take a few extra minutes and pop your poem into a grammar check like Prowriting.com and double check for any simple errors like your/you’re mix-ups or grammar mistakes like plural vs. singular usage. It doesn't take that long, and if you look at your poem a few weeks down the road and realize it has an embarrassing typo in it, you're going to wish you'd taken the extra step and used a grammar check website up front.

Granted, a grammar checker is going to flag a lot phrases in a poem that are correct because we often play with wording in poetry, but it’s easy to spot when the computer is flagging a sentence fragment (usually a line break) or when it’s flagging an issue with correct pronoun usage. I stand by this rule because I know from experience how frustrating it is to send your work out to five lit journals, get rejected by all of them, and find out later there were typos in my poems that I had somehow never caught in my dozens of revisions. If your work has a lot of typos in it, you’re making it easier for editors to write you off because it seems like you’re not really trying. In some cases, your writing may withstand the test despite having several typos, but why risk it? Run it through a free grammar check and then let the editors decide.

2. Double check the submission guidelines.
You don’t want to look like you weren’t interested in the journal and didn’t take time to check that you formatted your work as per their request. You don’t want to submit and then find out that the journal is actually publishing a themed journal that your work doesn’t fall under. You don’t want to waste three months waiting for a reply only to get a rejection because you didn’t do enough research up front.

Editors know that not every writer who submits their work is going to be super well acquainted with the publication, but they do expect you to look at what’s available – submission guidelines, about pages, and sometimes previous issues posted on their website - and submit with that information in mind.


3. Copyedit yourself.
Copyediting for a poem means making sure the information is consistent throughout. This is something a grammar checker won’t catch. That means if the beginning of your poem begins with night time imagery but ends with imagery that references the daytime, you may want to make sure that the inconsistency is intentional. I say this from experience. If you find inconsistencies in your poem and decide you like the poem that way, then no big deal, but double check yourself to make sure you didn’t just accidentally change the time of day during a rewrite.

It’s a pain in the butt to realized you submitted the poem to multiple places with errors, and even if the poem is accepted, it’s embarrassing to correct mistakes after the fact. Plus, once it goes into print, it is final, and sometimes due to deadlines, poems are printed with typos intact because proofing was done so quickly. Again, I’ve seen it happen. Copyedit yourself so you don't find an embarrassing typo in print later!


These are three tips I try to live by when it comes to sending my work out! I hope it gave you some useful ideas about prepping your work for publication. If you have more tips, tell me about them in the comments so we can chat!

Today’s post is probably going to get hokey-pokey pretty fast, so this is your fair warning.

This phrase is on my mind: “Travel lightly and deeply.”

I’m currently reading If You Feel too Much by Jamie Tworkowski, which is where I read these words for the first time. I couldn’t quite let them go once I’d read them. Not in a stuck-in-my-head kind of way, but in a I-need-this-idea way.

Sometimes I need someone else’s words to sum up what I’m feeling before I can ever fully explain it myself. Sometimes, other people’s words are a bridge to understanding myself as much as my own words are a bridge to understanding myself. One of the reasons I write is to be understood and known. That’s always been the appeal to me, and that’s why I know I make so much more sense on paper. I use books to understand others, and I use writing to understand myself and be understood.

When I speak audibly, I almost always fail at expression. It takes hours of thinking over a subject and rehearsing my own made up lines in my head to explain myself coherently to anyone else. During the last few years, I’ve put a lot less effort into that preparation because it’s exhausting. Do I really want to spend my life in that limbo when it’s so much easier just to make myself known on paper? Time is too precious.

All of the above feels necessary to say, but it also feels so necessary to look at that sentence more closely. The line, “Travel lightly and deeply.” speaks to me, but it also sounds like a dream, something to aspire to. It’s hard to imagine that it could be something I start doing today without preparation, but there’s a part of me that thinks it’s supposed to be that simple. I have a tendency to over complicate things, and I have a suspicion that, while this phrase holds a lot of weight, it may not take that much dissecting to understand.

Travel lightly: my first thought in response to these words is that I should give away all my belongs and only hold on to the few things that are near and dear to me, but I think this phrase means something much deeper (and who knows why I have this fascination with getting rid of things. That idea seems to glom onto any even remotely philosophical idea even have.) “Travel lightly” on a deeper level means “lay down your burdens.” Let it go. I struggle with this. I like to hold on to things, especially negative energy, and it’s so bad for me. I still do it. I hate the idea of laying down a thought before it’s fully processed. Before it is dissected, and understood, and mined for its value. But that thinking relies on a falsehood - you don’t learn from bad circumstances by dwelling on them. You learn by accepting them and staying open to learning. I’ve never once learned anything while I was angry about my situation and riling up my attitude every five minutes because I’m prideful and was born with a chip on my shoulder. Traveling lightly, in short, is about accepting life as it is while knowing that brightness and light are in even the bad places.

Travel deeply: give importance to meaning. Whatever is meaningful and good to me is what I should dwell on. Dive in, and experience life in whatever way I think will uncover meaning for me. Obviously, I wouldn’t encourage anyone to do something damaging just for the sake of experience, but by definition we’re talking about making our lives better here, so maybe that goes without saying. That word “deeply” just strikes me so much as the meat of life, the purpose. I don’t believe any of us were made shallow. The spiritual part of us that I believe in creates too vast an expanse within ourselves for me to ever think anyone is incapable of depth. The deep, inner part of our lives is one of the most meaningful aspects of human life, and it’s where meaning itself is derived. We go into our deep, inner space when we think about what’s meaningful to us. We’re in our deep space when we’re acting out our passions and being intentional with our lives. That deep space is critical, and we should not neglect time spent with it. I want to learn to be alone with my thoughts a little more often. I want to learn that I don’t have to chase the next idea, the next thought, the next piece of media to consume just to make sure I’m moving forward or not bored. I don’t have to always be moving forward. There is a time and a place to sit, be quiet, and look back.

This is the part when I realize the yin and yang of this whole idea: to go lightly and to go deeply through life are in some ways opposites, but married together they mean so much more. Their meanings rely on each other. You can’t truly go lightly without digging in and learning from the past because it’s necessary for acceptance, and there is no use in sitting down to contemplate the past if you don’t stand up and leave the burden on the floor, going lightly away from that place. A yin. A yang.

These are just some thoughts that are on my mind today. I hope you can find some kind of meaning in them. I hope you’re encouraged or inspired or thoughtful after reading them, but no matter what, just know that your life matters and you can make it matter to you. Keep your perspective on the light and the deep and reach out to others when you need to.

If you have thoughts, please share them in the comments, as always. Thanks for reading this far.

It can be difficult to find literary journals to submit your writing when you're first starting out in the publishing process, and it can be just as hard when you've been submitting for a while and feel as if you've exhausted your options. I want to share a quick list of places you can send your poetry. These journals either have cheap reading fees or no fees at all and accept submissions year round. I've written posts like this before that focused on literary journals and magazines that accept submissions from multiple genres, but today, I wanted to do a post specifically for the poets out there looking for places to submit. Let me know in the comments where you've submitted your writing lately, or whether you're just starting the journey to publication! 

Asks for 3-5 poems. Looking for, “… unpublished poetry that demonstrates originality, intelligence, courage, irreverence, and humanity.” $3 fee. Submissions accepted year-round. ​

I just got 2 rejection letters within five days of submitting to the journals. I received those letters within a week of each other. ​

Usually submission responses take several weeks or months to receive, so when you get a rejection letter within a few days, it can catch you off guard. I worked on my university’s lit journal for a semester, so I know that it’s easy to quickly read a submission and make a quick decision about whether it belongs in your journal or not, but it still stings (a lot). There’s nothing menacing about it. The piece works or it doesn’t. Really the only reason my teammates and I ever deliberated whether we should accept or reject a piece was because there were so many of us and doubt creeps into the decision making process when so many people with different tastes are in the same room. At the end of the day, though, I knew the pieces were either right for our journal or they weren’t. There was only so much space in our print version, so there wasn’t room to accept poems that fell in the grey area. That’s not to say that we only received a few great poems to put in the journal. We received a ton of great pieces, but they didn’t always fit the theme and feel of our journal.  
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Recently, I read Big Magic by Elizabeth Gilbert, and there’s a chapter that focuses on how Gilbert dealt with rejection, especially in her early years of writing. She describes using a “boomerang” technique to deal with rejections, which I have discussed in previous posts. She got the rejection letter and immediately took her manuscript out, stuck it in another envelop and sent it out to a different magazine. She did it automatically. Almost without thinking. Later in the chapter, she encourages writers to do what they need to do to deal with rejection (let themselves feel sad for a little while, get angry, whatever), but she encourages writers not to waste too much time before getting back to work, either by revising or sending their work right back out into the universe.

I’m trying to adopt this method, but so far it’s been a little more difficult than I thought. Finding places to submit to takes a while. You want to find a place that you’ll be happy to be published with and not just any old place that’s open for submissions. It also helps if your work just seems right for the magazine, either because you’ve looked into what they’ve published over time and it seems up your ally or you’ve read their about page and really feel pulled toward their publication. That process takes time, but it’s meaningful. I’ve never liked the idea of sending my work out at random where it could potentially be accepted, but not really appreciated or understood. Granted, it’s hard to know which places are going to treat your work well upfront, but knowing I have the publisher’s respect is important to me. Important in an “I’m not just random content for you to throw up on your website,” way. For that reason, I’ve been a little slow to send my work back out, but I am committed to continue. I really believe that 98% of the work you send out is going to be rejected whether it’s good or not (because, again, there’s only so much space), but you keep going so that you can see the 2% that does get published.

It’s not about accolades or recognition for me, (although to each his own). It’s honestly about having the chance to tell people a story. Storytelling, whether the medium be fiction, poetry, or nonfiction, is an art form I respect deeply and want to engage in. That’s why I keep writing despite the rejection letters, despite the negative workshop comments, despite people in my life just not getting it. I still want to be a writer, see where my stories take me, and see what readers the stories pick up along the way to enjoy the ride with me. We say that writing is so solitary, so lonely, but to me writing is all about people. You share something you worked hard on, and other people engage with your art whether it’s as an editor, or a reader of a journal, or someone reading this blog. Rejection may sting, but writing doesn’t. As difficult as starting out as a writer is, I hardly feel alone. I hope you don’t either.

Feel free to leave your thoughts in the comments. Let’s encourage each other.