Sunday, May 1, 2016

How to Keep Track of Your Writing Submissions

One type of housekeeping that every writer has to do is to keep track of submissions. This task has become slightly easier since the advent of Submittable, a software that many literary magazines use to handle submissions. Submittable was founded in 2010 by a filmmaker, a musician, and a novelist who wanted to democratize the submissions process.

Once you have an account in Submittable, you can go to the SUBMISSIONS menu and view several different sub-menus, including ALL, ACTIVE, ACCEPTED, DECLINED, and WITHDRAWN. I do find it useful to check my Submittable account periodically to remind myself about what work I’ve sent out and to view results.

The problem is, not every magazine uses Submittable. Many have their own submission interface, and some still only consider hard copy submissions. Submittable alone will not enable you to keep track of the manuscripts you send to magazines or publishers.

All the writers I know have some form of personal database to keep track of their submissions. This is particularly true for poets, who have many individual titles and may submit numerous poems in various combinations to different magazines at the same time.

I find it fascinating that every writer I asked has invented his or her own system for keeping track of submissions. Writers use a variety of software, from Word to Excel to FileMaker Pro, and a range of different notation systems.

I noticed that certain fields are common denominators in all these databases: title, name of magazine or press submitted to, date submitted, and decision (accepted or rejected).

Some writers have their own codes to make the fields easily searchable. The poet Robert Thomas told me he uses a table in Word with these abbreviations in the left-hand column: “X means it’s submitted somewhere, blank means it’s not, and ! means it’s been accepted. If I sort by that first narrow column I can see at a glance what’s out and what’s not.” Interestingly, Robert includes poems in his database that he has not yet submitted, so he can consider those poems when he’s ready to send to a magazine.

Robert Thomas
The writer Jeanne Wagner uses an ingenious color-coding system in her database to indicate whether a poem has been accepted or not: “I keep track of all my submissions on Excel. It’s very simple. The first column is the name of the journal or prize, 2nd the name of the poem(s) the 3rd the date submitted, 4th the result—award amount or publication. In the space to the right, I occasionally make a note, i.e., ‘editorial comment received,’ ‘accepts pre-published,’ ‘don’t resubmit.’ I highlight the positive results in red (publication or award), the rejections in blue, and the withdrawals and non-responses in green. The accepted poems are underlined. I don’t send in a query about my submission until it is well past (at least a month) the date for response listed in the journal guidelines.”

Jeanne Wagner
The poet Kendall Dunkelberg has his own method: “I have a system, developed in the 1980s first on Apple’s Hypercard and migrated eventually to SuperCard, that keeps track of submissions, magazines, and grants. It runs reports and even helps me manage readings and book sales." Kendall has written a blog that explains his system in greater detail.

Kendall Dunkelberg
The poet Melissa Stein works with a different software: “I’ve been using an old Filemaker Pro version forever. I’m surprised it still functions. I usually do simultaneous submissions. I generally email magazines immediately when something is accepted.”

Melissa Stein
Each of the poets I queried had his or her own method. It turns out my own method is a lot more obsessive than the other poets I asked.

I use a Word table with all the columns that the other poets mentioned, but I also have a column labeled Previous title. I often change the title of a poem or manuscript during the period I’m submitting it, and I want to be sure that I find all the previous submissions if I have to notify an editor that a simultaneous submission has been accepted elsewhere.

I have another column called Reminder Sent. Two or three times a year I go back over my Word table and look for submissions where the magazine has not responded. I usually wait at least four months before sending a reminder to a literary magazine. The reminder I send is a very brief email just giving the names of all the poems I submitted, the date I submitted them, and a quick note saying that I hope they will let me know soon if they would like to publish any of the poems. In my Word table I enter the date when I send an email reminder to a publication I haven’t heard from, so I don’t repeat reminders.

I also have a column called Address, email, or online submission manager to keep track of how and where I actually submited the work. If I know which editor I sent the poems to, I include her or his name in that column. I find it reassuring to attach a name to my submission—it makes me feel a more personal connection to the journal. But I also include the name so that any correspondence goes to an individual, not just to an inbox.

When I get a response from a magazine or publisher, I always make a note whenever the response invites me to submit work again, and if there was a personal note, similar to Jeanne Wagner’s database. Maybe once a year I look for those entries and resubmit to one or two of them, starting my cover letter by saying that the magazine invited me to resubmit last time.

I also have a column for the announced publication date of an accepted poem, and a column for the date when it is actually published. Sometimes works are accepted and not published when expected, or ever. I like to keep tabs on that so I can find out if and why a publication is delayed. In an extreme situation, I will resubmit the work if the magazine ceases publication. That can happen, unfortunately.

There is an online submissions tracking system that you can pay for called Duotrope®. Duotrope costs $50 a year, and in addition to providing a way to track your submissions, the website offers a search feature to find publishers, an index of listings, and a calendar of upcoming deadlines. Personally, I don’t think this is a service a writer needs to pay for, but if you can afford it, this seems like a reasonable solution as well. 

Whatever method you use, make sure that it’s easy to find previous submissions, especially if you submit work simultaneously. An important part of a writer’s housekeeping is to notify editors when work is accepted elsewhere, so that publications don’t spend time evaluating a submission that is no longer available.


Other recent posts about writing topics: 
How to Get Published: Part 1Part 2Part 3Part 4Part 5
Getting the Most from Your Writing Workshop: Part 1Part 2Part 3Part 4Part 5Part 6Part 7
How Not to Become a Literary Dropout, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8Part 9Part 10
Putting Together a Book Manuscript, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8
Working with a Writing Mentor: Part 1Part 2Part 3Part 4Part 5
Does the Muse Have a Cell Phone?: Part 1Part 2Part 3Part 4Part 5
How to Deliver Your Message: Part 1Part 2, Part 3Part 4Part 5Part 6
Why Write Poetry? Part 1Part 2Part 3Part 4
Using Poetic Forms, Part 1: Introduction; Part 2: The Sonnet; Part 3, The Sestina;
Part 4, The Ghazal; Part 5, The Tanka
Praise and Lament, Part 1Part 2Part 3Part 4Part 5Part 6Part 7, Part 8Part 9

Thursday, February 25, 2016

Types of Literary Rebellion, Part 2: Emily Dickinson and Walt Whitman

I used to think that Walt Whitman was the good guy of late nineteenth century U.S. poetry, and that Emily Dickinson was irrelevant. In what way did I think she was irrelevant? Irrelevant to the political, spiritual, and social revolutions that were churning at that time. 

Whitman, on the other hand, earned his living partly as an orator, making fiery speeches against slavery and in favor of populist American democracy. Emily Dickinson sat in a room in her father’s comfortable house in the little town of Amherst, Massachusetts and had almost nothing little to say publicly about the political storms of that period. To me, they seemed like polar opposites. Well, not exactly polar. Dickinson seemed like a frozen pond, and Whitman like a jungle during a sunshower.

Emily Dickinson
Then I read Richard Sewell’s The Life of Emily Dickinson. It’s entirely my fault that it took me so long to find this book, since I actually took a Shakespeare class with Professor Sewell when I was an undergraduate at Yale at the same time he was writing his biography of Dickinson. But I didn’t follow Sewell’s work after I finished the final paper for that class. I only read his book on Dickinson when I reluctantly prepared to teach her writing in an American poetry survey class about thirty years later.  

In his biography, Sewell reveals what a complex and interesting response the poet had to her time. He describes how Dickinson was more or less driven out of Mount Holyoke College (then called Mount Holyoke Female Seminary) because she was part of the group of students considered “hopeless” by the fundamentalists of the Second Great Awakening, which was then hurricaning through New England.

And when I read Dickinson’s poetry in that light, I started to see that she was profoundly rebellious as well:

Some keep the Sabbath going to Church –
I keep it, staying at Home –
With a Bobolink for a Chorister –
And an Orchard, for a Dome –

What more eloquent statement could there be of the individual’s right to communicate directly with the Spirit, and to see the divine directly in nature? And how similar to Whitman’s “The bull and the bug never worshipp'd half enough,” in “Song of Myself.”

Around this time I also read Adrienne Rich’s remarkable essay on Dickinson, “Vesuvius at Home.” Rich makes a convincing case that Dickinson understood the explosive nature of her rebellion, and that that Dickinson deliberately kept close to her home to protect the revelation of her poetry and her ideas. “I have a notion that genius knows itself;” writes Rich, “that Dickinson chose her seclusion, knowing she was exceptional and knowing what she needed. It was, moreover, no hermetic retreat, but a seclusion which included a wide range of people, of reading and correspondence.”

I think Rich is right that Dickinson’s reticence to share her poetry was not the withdrawal of a dry school marm but a savvy choice. Emily Dickinson's father was the local congressman. Dickinson had the shelter of his home as a writer’s retreat—so long as her work didn’t embarrass or disgrace her father and the family. Dickinson’s best choice for publishing and preserving her revolutionary poems was to turn them into a sort of time capsule. That way her poems could be read, understood, and appreciated in a future century—which they are.

Rich does not put much emphasis, though, on Dickinson’s love poems. Yes, Dickinson wrote love poems, and they can be quite sexy:

Is it too late to touch you, Dear?
We this moment knew—
Love Marine and Love terrene—
Love celestial too—

If Whitman had known that poem, I wonder if he would he have seen the parallel with one of his most sensual poems, “I Sing the Body Electric,” where he says, “If any thing is sacred the human body is sacred.”

Walt Whitman
I just wish that Emily could have met Walt, and they could have sat down together in a café in Brooklyn. I imagine that she would order Darjeeling tea and a lingonberry scone, and he would order coffee and pour some of a flask into the steaming cup. I think that if they could have bridged the enormous cultural gap between small town New England and the alleyways of Brooklyn where kids played deafening ballgames, Walt and Emily would have realized that they were both rebels in their own ways, and had more in common than they had differences.  

Other recent posts about writing topics: 
How to Get Published: Part 1Part 2Part 3Part 4Part 5
Getting the Most from Your Writing Workshop: Part 1Part 2Part 3Part 4Part 5Part 6Part 7
How Not to Become a Literary Dropout, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8Part 9Part 10
Putting Together a Book Manuscript, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8
Working with a Writing Mentor: Part 1Part 2Part 3Part 4Part 5
Does the Muse Have a Cell Phone?: Part 1Part 2Part 3Part 4Part 5
How to Deliver Your Message: Part 1Part 2, Part 3Part 4Part 5Part 6
Why Write Poetry? Part 1Part 2Part 3Part 4
Using Poetic Forms, Part 1: Introduction; Part 2: The Sonnet; Part 3, The Sestina;
Part 4, The Ghazal; Part 5, The Tanka
Praise and Lament, Part 1Part 2Part 3Part 4Part 5Part 6Part 7, Part 8Part 9

Friday, February 19, 2016

Types of Literary Rebellion, Part 1

When I first began studying literature seriously in college in the early 1970s, I was drawn to the most openly rebellious voices. I loved the Beat Generation, the Surrealists, D.H. Lawrence, Walt Whitman, William Blake, and the poets of the Black Arts Movement like my undergraduate mentor June Jordan. I still love them.

William Blake
During the period when I was a student, the New Left was at its peak. It was also the era when the movements against the Vietnam War and the civil rights movement flourished in the United States. The doctrine of many revolutionaries at that time was that anything less than total revolt was irrelevant and self-defeating: “Ceux qui font des révolutions à moitié n’ont fait que se creuser un tombeau.”—“Those who make revolutions halfway have only dug their own graves.” I first encountered those words of Louis Antoine de Saint-Just, the French revolutionary from the period of the Terror, when Jean-Luc Godard quoted them in a movie. Godard was my artistic idol at the time. That quote embodied much of what my friends and I were thinking then about politics and art.

But the New Left, with its stir fry of Maoism, Trotskyism, and anarchism, never came close to becoming a majority movement in the United States. Maybe that’s because the U.S. is generally allergic to isms. I came to realize that it was those who make revolutions all the way who only dig their own graves.

But what does all this have to do with literature? Well, the writers who openly declared themselves in revolt against the artistic and political establishment were clearly rebels to my adolescent or post-adolescent mind. Those were the writers whose stances I admired when I began my own literary attempts.

I’m not sure how I came to realize that there were actually many ways to express rebellion, dissent, and innovative ideas in literature, some of them bravely open, and some more subtle.

Maybe it was by reading the work of feminist writers, who often didn’t stand on a soapbox and declare their political viewpoints, writers such as Virginia Woolf. The slogan of the feminist writers of the 1980s, “The personal is political,” leant itself to a more nuanced aesthetic. If even the small moments in life have larger social significance, then a writer doesn’t have to scribble a manifesto to make a strong point. Understanding what is political in a poem by Sharon Olds isn’t like understanding the ideas of Mayakovsky or Amiri Baraka, where the writer is clearly waving a red flag.


Learning what is revolutionary about the more subtle rebels has been a lifelong study for me. In the next couple of blogs, I’ll talk about a couple of the writers where the social change implications of their work have only become clearer to me as I’ve read more.

Other recent posts about writing topics: 
How to Get Published: Part 1Part 2Part 3Part 4Part 5
Getting the Most from Your Writing Workshop: Part 1Part 2Part 3Part 4Part 5Part 6Part 7
How Not to Become a Literary Dropout, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8Part 9Part 10
Putting Together a Book Manuscript, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8
Working with a Writing Mentor: Part 1Part 2Part 3Part 4Part 5
Does the Muse Have a Cell Phone?: Part 1Part 2Part 3Part 4Part 5
How to Deliver Your Message: Part 1Part 2, Part 3Part 4Part 5Part 6
Why Write Poetry? Part 1Part 2Part 3Part 4
Using Poetic Forms, Part 1: Introduction; Part 2: The Sonnet; Part 3, The Sestina;
Part 4, The Ghazal; Part 5, The Tanka
Praise and Lament, Part 1Part 2Part 3Part 4Part 5Part 6Part 7, Part 8Part 9

Monday, January 18, 2016

Writing a Fictional Plot Based on a True Story: Arthur Miller's A View from the Bridge

I recently read Arthur Miller’s A View from the Bridge. I enjoyed the play, and was about to put the volume back on my bookshelf when I noticed that the author had written an introduction. I’m usually not much for introductions. Cut to the chase, skip the previews—I want to get to the plot as soon as possible. But Arthur Miller’s preface fascinated me.

Miller tells how he came upon the idea for A View from the Bridge, a tragedy about a longshoreman named Eddie Carbone that takes place in the working class neighborhood of Red Hook, Brooklyn:

I had known the story of A View from the Bridge for a long time. A water-front worker who had known Eddie’s prototype told it to me. I had never thought to make a play of it because it was too complete, there was nothing I could add. And then a time came when its very completeness became appealing. It suddenly seemed to me that I ought to deliver it onto the stage as fact…

Miller describes how he tried in the original Broadway production to create exactly the story that the dockworker had told him—no frills, just the unfolding of the final calamity. 

Ben Shawn's poster for the 1965 revival of A View from the Bridge
I think most writers would respond similarly to hearing a great story, seemingly ready made. Why tamper with something so good, so perfect? In the first New York production of A View from the Bridge, Miller followed that logic. The stage was stripped of scenery, a minimal cast of actors wore little makeup. The result was not a success.

The play came into its own when it was revived a year later in London. Oddly, this happened despite, or maybe because, the naturalism possible in New York could not be achieved in the Shakespearean milieu of the U.K. stage. As Miller puts it, “the British actors could not reproduce the Brooklyn argot and had to create one that was never heard on heaven or earth.”

Removed from the roots of the original story, Miller had more freedom to elaborate on it, to develop the characters. He particularly fleshed out the role of Beatrice, Eddie Carbone’s wife. One of the most poignant aspects of the revised script is that Beatrice attempts in vain to deflect Eddie’s overly possessive behavior toward Catherine, his attractive, adopted niece. It is that tragic flaw in Eddie that leads to his downfall. With the new additions to the script, the London version was a hit, running for two years and going on to an extended run in Paris.

In the U.K. production, Miller did the first thing a writer has to do in transforming a true story—he falsified it. In writing fiction from real life, a writer has to mold it, to make it bend into a tale that works from standpoint of the audience/reader.

But Miller didn’t stop there. When a writer adapts a story that s/he hears, the temptation is lift it directly and not to meddle with it, like a fragile diorama. Miller recounts the moment when he decided to make this story into a play: “It existed apart from me and seemed not to express anything within me.” But that was the impulse that produced the failed version. Toward the end of the play’s run on Broadway, Miller realized his personal and emotional stake in the characters:

It was only during the latter part of its run in New York that, while watching a performance one afternoon, I saw my own involvement in this story. Quite suddenly the play seemed to be “mine” and not merely a story I had heard. The revisions subsequently made were in part the result of that new awareness.


Even though A View from the Bridge is about the family of an immigrant longshoreman Miller never knew, the playwright had to claim all the emotions of the story as his own before he could write them compellingly. There had to be some reason that he chose that particular tale, and he eventually discovered what it was. It’s like waking from a dream—once we realize that all the characters are aspects of ourselves, the story starts to come into focus.

Other recent posts about writing topics: 
How to Get Published: Part 1Part 2Part 3Part 4Part 5
Getting the Most from Your Writing Workshop: Part 1Part 2Part 3Part 4Part 5Part 6Part 7
How Not to Become a Literary Dropout, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8Part 9Part 10
Putting Together a Book Manuscript, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8
Working with a Writing Mentor: Part 1Part 2Part 3Part 4Part 5
Does the Muse Have a Cell Phone?: Part 1Part 2Part 3Part 4Part 5
How to Deliver Your Message: Part 1Part 2, Part 3Part 4Part 5Part 6
Why Write Poetry? Part 1Part 2Part 3Part 4
Using Poetic Forms, Part 1: Introduction; Part 2: The Sonnet; Part 3, The Sestina;
Part 4, The Ghazal; Part 5, The Tanka
Praise and Lament, Part 1Part 2Part 3Part 4Part 5Part 6Part 7, Part 8Part 9

Thursday, December 31, 2015

Pathos: What It Is, and How Writers Evoke It

Pathos is one of the emotions that writers most frequently evoke in their work. The noun pathos comes from ancient Greek and from the verb πάσχειν, or pas-thein, which means “to suffer.” The Oxford English Dictionary defines pathos as, “A quality which evokes pity, sadness, or tenderness…”

Essentially pathos is a personal suffering, a solitary emotion,, which is what makes it so poignant. Ironically, it is that individual, interior quality of pathos that allows us to empathize with it, since we all have experienced moments of pathos.

Unlike other emotions, such as love, hate, anger, outrage, friendship, etc., pathos only requires one person to create its story. Because it mostly involves the fate of an individual, pathos might be the easiest emotion to invoke, so it’s a good place to start for a beginning writer.

One of the most classic examples of pathos for me is this poem by the great haiku writer, Hattori Ransetsu (1654–1707).

Hattori Ransetsu
Here is the haiku:

The childless woman,
How tender she is
To the dolls!

translated by R.H. Blyth

In this poem Ransetsu tells the story of one person’s life in fewer than twenty syllables. The woman, who is perhaps a shopkeeper, is arranging dolls, stroking their hair, neatening their clothes. Her tenderness toward them shows the reader the love she would have given her children, if she had had them. This one scene, which the poet depicts with a few quick brushstrokes, gives us an entire narrative. This is not a woman who has voluntarily chosen to forego having children. The pathos comes from the sense of loss, the absence of the life that this woman would have enjoyed as a mother, and the poignancy of her showing that love to a lifeless doll.

Even though pathos does not require many characters to trigger it, it is still a tricky emotion. The danger in attempting to evoke pathos is sentimentality. Imagine, for example, if Ransetsu had written instead:

That poor, lonely, childless woman—
Isn’t it terribly sad how she tenderly strokes
and soothes the dolls!

If Ransetsu had written this overblown version, we would recoil from the writer’s blatant appeal to our sympathy. It’s the restraint that Ransetsu exercises in understating the emotion that allows the reader to experience the feeling.


That’s something to keep in mind in trying to create pathos. Pathos is like mercury. It’s fluid. Unpredictable. It arrives with a sudden flash of light. Trying to force it to appear just doesn’t work. The writer has to create an authentic situation, and allow the pathos to flow into it, and once it does—snap the lid shut so it stays.

Other recent posts about writing topics: 
How to Get Published: Part 1Part 2Part 3Part 4Part 5
Getting the Most from Your Writing Workshop: Part 1Part 2Part 3Part 4Part 5Part 6Part 7
How Not to Become a Literary Dropout, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8Part 9Part 10
Putting Together a Book Manuscript, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8
Working with a Writing Mentor: Part 1Part 2Part 3Part 4Part 5
Does the Muse Have a Cell Phone?: Part 1Part 2Part 3Part 4Part 5
How to Deliver Your Message: Part 1Part 2, Part 3Part 4Part 5Part 6
Why Write Poetry? Part 1Part 2Part 3Part 4
Using Poetic Forms, Part 1: Introduction; Part 2: The Sonnet; Part 3, The Sestina;
Part 4, The Ghazal; Part 5, The Tanka
Praise and Lament, Part 1Part 2Part 3Part 4Part 5Part 6Part 7, Part 8Part 9

Tuesday, December 1, 2015

Editing by Rewriting from Scratch

When we edit, most of us tend to tinker. We substitute a word or phrase here, we prune a word or two there. We don’t make major changes in any draft. Essentially, we like our own words (who doesn’t?) and we want to keep as many of them as we can. We do that even when we know that a poem or work of fiction or nonfiction that we’ve written isn’t working.

But is tinkering always the best method of fixing something? Many times, when we alter just a little here and there, we are missing an opportunity to learn from the mistakes of a particular draft. It often takes a flawed draft to give us the clue to what our idea really requires. Sometimes the idea needs not what we wrote in our first attempt, or even the fifth attempt. In some cases, we’ve just got to start over.

That may feel like failure. It isn’t. It’s important to see the early drafts of a work of writing not as emeralds, but as tentative experiments, attempts. It’s difficult to do that, since our writings are often as close as we get to our innermost thoughts and deepest insights. But insights usually don’t arrive fully tailored. Sometimes we can’t just sew on a button, we have to begin with a whole new pattern.

I love the example of this sort of editing that I learned about from Professor David Thorburn, who taught the course I took on the modern British novel at Yale around 1973. If I’m not misquoting Professor Thorburn (and my apologies if I am!), D.H. Lawrence wrote his masterpiece, Women in Love, eight separate times. 

D.H. Lawrence
I don’t mean that Lawrence edited the same manuscript eight times. No, he started all over from Chapter One eight different times. That doesn’t mean he kept nothing from the earlier drafts. No doubt there were sections that worked in the very first version. But each time Lawrence began to write from the beginning with no preconceptions about how the book would progress or turn out—or so I like to think.

I’ve recently been trying out a similar method of editing with my own poems. I find this particularly useful for poetry in a lyric form. If one version doesn’t work, it often is self-defeating to edit that version, since any error ripples through the entire form of the poem. It’s better to start fresh, with new rhymes, for instance, or new repeating elements, possibly snatched from an earlier draft, but reused in a different context.

I recently attempted to write a villanelle for the first time. In a villanelle, the poet has to include two lines that are flexible and resonant enough to appear four times each in the poem. 

For instance, take Dylan Thomas’s iconic villanelle, “Do Not Go Gentle into That Good Night.” 

Dylan Thomas
In that poem, the two famous refrains are:

Do not go gentle into that good night

Rage, rage against the dying of the light

Imagine if Thomas had initially selected as a refrain not one of those lines, but a different line in the poem, say the second line, “Old age should burn and rave at close of day”?  It might put too much emphasis on the idea of burning or raving to mention them four times. With four uses of the word “burn,” the poem would have a much more religious undertone, since it would evoke burning in hell. The word “rave” occurring in four places might make give the poem too hysterical a note. If those were not the foci Thomas wanted, the current line 2 would not have worked as a refrain. It would have served his purposes better to start over with a different refrain and rewrite the whole poem, rather than to try to tweak that line in some minor way.

There’s another reason we prefer to tinker rather than to rebuild from the ground up—tinkering is a lot less work. But ultimately, several pieces of flawed work that produce nothing usable are much less productive than a lot of work that results in writing worth sending out into the world.

Other recent posts about writing topics: 
How to Get Published: Part 1Part 2Part 3Part 4Part 5
Getting the Most from Your Writing Workshop: Part 1Part 2Part 3Part 4Part 5Part 6Part 7
How Not to Become a Literary Dropout, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8Part 9Part 10
Putting Together a Book Manuscript, Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8
Working with a Writing Mentor: Part 1Part 2Part 3Part 4Part 5
Does the Muse Have a Cell Phone?: Part 1Part 2Part 3Part 4Part 5
How to Deliver Your Message: Part 1Part 2, Part 3Part 4Part 5Part 6
Why Write Poetry? Part 1Part 2Part 3Part 4
Using Poetic Forms, Part 1: Introduction; Part 2: The Sonnet; Part 3, The Sestina;
Part 4, The Ghazal; Part 5, The Tanka
Praise and Lament, Part 1Part 2Part 3Part 4Part 5Part 6Part 7, Part 8Part 9