These words were written by Karen Wendy Gilbert who had been a client of Writer’s Relief for ten years. She passed away on September 30, 2008 in Beth Israel Hospice. We’d like to thank her for sharing her writing and some of her time with us. Our own words don’t seem adequate, and so we are choosing to share HER words with you (with her permission). Karen was a courageous and talented woman.

Karen: We send you love, love, love, and more love.

With appreciation of your gift,
                        Ronnie and the staff of Writer’s Relief
____

On a clear, cold, God-given morning,
the sky was the original shade of blue
before doubt or cloud or second-thoughts
were invented.
____

Words like
“Incandescent,” “entropy,” and “implicate,” thrill me.
____

Amidst the material left as the waves recede are some man-made objects.
An occasional condom, the plastic casing of a tampon, the postage stamp-sized
Ziploc baggie that once held crack. Why anyone would need the rush and crash
Of crack here beside the rush and crash of the tides I can’t imagine,
Although, one is as likely to lead a life of soul-sucking desperation here as anywhere.
I, who know my days are numbered, am at peace here,
As nowhere else. The endless repetition of the waves,
Of the tides, of the flotsam and jetsam lend a soothing sameness to my days.
I repent nothing,
and hurl myself onward,
as fast as my lead shoes allow me, into the yawning abyss
(in my new sunglasses I look just like Grace Kelly).
____

With red-rimmed eyes and dark-brown skin,
His pores smelling like sweet wine,
The rain falling on his head and face,
He asked me for a quarter.
 
While I fished in my pocket,
He said, “God, what I really need is a hug.”
I looked up—startled,
And he, afraid he’d lose his quarter
Said—to me, to the rain, to the red traffic light
That kept us both at that corner,
“Now I’ve scared you.”

But he hadn’t.
And in my pocket I found two quarters and a dime,
And gave it all to him.
As well as the hug.

Our great-grandparents might not understand, but many of us now wake up to our Yahoo! or MSN home page to get our daily news and celebrity gossip fix. While daily newspapers will continue to be an important part of our lives, there’s no denying the impact of having such an array of online reading material. According to many surveys, more and more people than ever before are using the Internet to read the news, access blogs, articles. Studies also show that people tend to access online journals more frequently than print journals. Again, print magazines and journals aren’t in danger of disappearing anytime soon, but the Internet offers an alternate source of reading material—material that is usually up-to-date, easily accessible, often free, and conveniently waiting for us in our own homes or on our laptops. And as we ease into the world of cyberspace, online magazines and literary journals are quickly earning prestige and increased readership.

Online Magazines and Journals

There is a proliferation of literary magazines popping up on the Internet, and this is changing the way literature reaches readers. Suddenly, literature is more accessible to the entire world, and E-zines are offering more selections to their readers. These online magazines are finding better ways to meet the needs of writers and their readers, becoming a defining force in literature.

Literary journals and E-zines usually publish poetry, short fiction, and essays and offer information about authors and book reviews. Much of the work is written by new writers, so beginning writers take note: The Internet offers greater opportunities than ever before to get your work published. It hosts a variety of smaller-niche publications that offer new writers a forum for their work, as well as a worldwide audience. This translates to more people seeing a writer’s work than ever before. And, as it should be, the goal of these E-zines is to feature the work of deserving writers, both experienced and inexperienced.

Suppose you’ve placed a short story in a respectable print journal. Your story will be in active circulation for a certain number of weeks, and then it will be moved to the archives. If your story appears in an online literary journal, it may be viewed by thousands, and when it is archived, a mere click of the mouse will bring it back to life. No trips to the back rooms of libraries. Plus, your story will be viewed by people all over the world who may not have access to work you’ve published in print. This long-term exposure is a definite advantage for the author. This may explain why many mid-list literary magazines are switching to both online AND print editions.

New writers who are looking to be published in a print magazine would do well to target the mid-list (or second-tier) literary magazines. Obviously, the very best placement for an author’s short fiction would be in first-tier magazines; but if this goal is unattainable, online publications are a great way for new writers to get those first credits.

The Internet also offers writers newsletters, chat rooms, and forums where they can network with fellow writers from all over the world. This is a great way to stay current and glean information about particular editors and agents or hear about new E-zines and what they are looking for.

Blogs (short for Web log) have been on the Internet since the early ’90s. Originally, blogs started as personal diaries online, but that has since evolved and expanded. Not only are blogs for personal use, but blogs are often vehicles for sharing and discussing specific subjects, such as travel, politics, entertainment, and, of course, creative writing. Some of these blogs for creative writers can serve as an online journal, publishing a new poem or short story on a daily basis. Other writer-friendly blogs, such as http://www.writersreliefblog.com, offer information and advice for improving one’s writing skills.

Editors/agents will consider your work published if it’s posted publicly on your blog. Avoid sharing your work until it’s already been published elsewhere, giving credit to where it was first printed. In addition to sharing already-published work, if you’re promoting a book you’ve written, you can have friends and loved ones comment with reviews, announce book readings/signings, etc. Start sharing your blog link—that is, the URL, the WWW to get to your blog—in your e-mails and other communications. The more people you have visiting your blog, the more likely people will spread the word. An added bonus is that your rankings in Internet searches will increase.

Poetry demands originality. It is, however, unfair to expect brand-new poets to produce fresh, original work—even the most seasoned poets struggle with this task. Poets often find that they must first imitate what has come before them—by reading the work of others and by imitating the work that inspires them—until their own unique voice begins to come through. And by honing the craft through dedicated practice, a poet develops his or her own style.

Finding the creativity needed to create new subject matter and imagery in poetry is easier said than done, but we’ve come up with a few tips on fostering originality. These can be applied to most other genres as well.

Read widely. By reading and absorbing the words of others, your repertoire of skills widens, building on the skills you’ve already developed. Read collections of contemporary poetry, attend readings, and subscribe to poetry journals to broaden your horizons.

Imitate. We’re not talking plagiarism here. Imitating the works you admire helps to develop your own style, and as confidence grows, so does individuality.

Avoid cliché. Images and themes that have been overused lose their power and beauty. Period.

Make each word count. Poetry is a spare form of writing, requiring each word to pack a punch. Choose your words carefully, and aim for clear and concise language. Use action verbs and concrete nouns, which require fewer modifiers and are more dynamic. Avoid the passive and the abstract. And when searching for that perfect word, keep in mind that it need not be exotic or scholarly or unpronounceable to be meaningful.

Make each line count. Each line should be an integral part of the poem and help the poem progress. A four-line poem with four powerful, original lines is better than a two-page poem with four powerful, original lines.

Imagery. Let the poem’s images appeal to the readers’ senses—sound, sight, taste, smell, touch—through metaphors, similes, or descriptive words. Avoid tired similes (free as a bird, quiet as a mouse) and overused metaphors (my love is a rose). It can be difficult for even an experienced writer to create fresh metaphors and similes, but this is what makes a poem interesting.

Don’t overexplain. If the poem is effective, your use of language is sufficient to get the message across to the reader. You don’t have to explain everything.

Take risks. Poems that tackle difficult or uncomfortable subjects make an impact on the reader. Or try using humor, satire, or irony, which can also make even dull subject matter come to life.

Write naturally. It’s not only unnecessary for a poem to rhyme, but it can sound forced or strained if not done properly. And unless you are attempting to write in a Victorian style, avoid the use of "thee," "o’er," or "’tis." While the poetry of a hundred years ago may be appealing, most poets are writing for a modern audience.

Grammar and punctuation rules need not apply. Poetry is free of the usual constraints of writing rules. Line structure provides natural breaks without commas or periods, and the author has free reign over other matters of style. If it works for the poem, the grammar police will turn the other cheek.

Form. There are many different forms of poetry that can be employed, but it is not necessary to write in couplet form, for example, in order to be taken seriously.

Enjoy yourself. Letting go and writing for the sheer pleasure of it often produces the most original and creative pieces. Embrace the joy of writing and see what happens.

We've all felt it. The blank look that creeps across our face as we stare at the computer screen. The utter lack of inspiration. The lack of fire. Sometimes we can't bring forth even a scrap of creative genius, and sometimes a once-inspiring idea suddenly goes stale. It's something that happens to every writer, and everyone has his/her own way of dealing with the problem. We've put together a few ideas we hope will help get the word party started.

Coming up with fresh ideas:

Change of scenery. Yes, we know. You hear this all the time, but if it works, it's worth a try. Jump on a bike, hop a train, pull on the sneakers, and go someplace different. It may be a new coffeehouse down the street, an unexplored neighborhood, even a tropical vacation, but the change of scenery may be just what you need to get a fresh perspective.

Eavesdrop. Blatantly and unabashedly eavesdrop on interesting conversations. Take notes. If nothing develops (and you don't get caught), at least you will have honed your dialogue skills.

Carry a notebook. Sometimes our best ideas strike out of the blue, so be prepared and carry a notebook to capture them. Take notes on things you observe, capture interesting characters you encounter on the subway, or record great one-liners you overhear. Sometimes even one word can evoke an entire scene as you review your notes later.

Read. It can be an author whose style you admire or Gerbils Monthly magazine. Read something that inspires you, or check out something you've never considered reading before. If you've always been too embarrassed to buy a cheesy tabloid, do so now with the confidence of a good excuse: we'll call it research. See what ideas are generated by the outrageous headlines, and get out of your own head for a while.

Take a class. Most writers spend an ungodly amount of time in front of a computer screen. Try taking a class that has nothing to do with writing, such as tai chi or cooking. You may meet some interesting people and develop new ideas from the setting. And you'll be more relaxed as you create the perfect souffle.

Free write. Sometimes the act of writing itself can get things started. Get a blank piece of paper and just start filling it up with whatever comes to mind. Be silly, shocking, or close your eyes and try to connect with the other side. Whatever it takes.

Give yourself a deadline. Generate a false sense of panic and tell yourself you have two hours to (fill in the blank). Sometimes working under pressure creates the best product, even if you know you won't be fired if you miss the deadline.

Revitalizing old ideas:

Take a break. If you've been like a puppy and have worried an idea half to death, take a break and work on something else. If the idea is worth salvaging, it will eventually come back to life. If it doesn't work after several breaks, it might be time to start over with something new.

A new angle. Research your idea from an entirely new perspective. Writing a short story about a farmer's disastrous harvest season? Try approaching it from a new angle, such as a farmer's daughter's joyful wedding in the middle of a disastrous harvest season. Want to write about dogs? Imagine your subject from different perspectives, such as dogs from a vet's point of view versus a child's point of view. Brainstorm all possible angles surrounding your idea, and see what develops. If you're unable to revive your passion for the once-hot idea, it may be time to scrap it, either temporarily or permanently. Our world provides a rich feast of ideas for the creative mind, and when the right concept comes along, you'll know it. And write it.

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Author’s Submission Service Since 1994

April is National Poetry Month, and we challenge you to write a poem about whatever you want, in whatever form you want, even if you're not a poet. Write about how you're feeling right now—what makes you feel sexy, what makes you angry, what motivates you, what makes you cry. Don't be afraid to confront these feelings. Some of the best poetry comes from this buried intensity.

http://www.writersrelief.com/
Author’s Submission Service Since 1994

You’ve seen the ads in the Sunday newspaper magazines—a mass-market appeal to submit your poem, get published, and win a huge prize. "American Poetry Association Contest! Win up to $50,000!"

There’s no shortage of poetry contests out there. And in most cases, the goals of these contests are legitimate: recognizing and honoring quality poetry and beefing up membership or subscription bases. Unfortunately, there’s no dearth of scam artists in this world, and bogus poetry competitions are everywhere, luring would-be as well as established poets with seductive prizes and flattering appraisal of their poems.

Journalists have had some fun with these contests, entering intentionally awful poems, which are then accepted by the contest’s publisher and met with high praise, accolades, and, of course, an invitation to purchase an anthology containing their poem (only $49.95!) or an invitation to attend a convention to accept their prize (registration fee: $425.00). Writer beware!

Be on the lookout for these warning signs of a disreputable poetry contest:

Unusually large cash prizes. Especially when there’s no entry fee. Where in the world do they find such financial backing?

No prize money but a promise of "agent representation"—at a high price. Or an invitation to join "The International League of Poets"—for a pricey sum, of course.

Anthologies. Your poem was accepted, and the publisher is oozing high praise. Your stunning and highly acclaimed poem will be published in an anthology—and would you like to purchase said anthology for $49.95? How about your proud friends and family? For several hundred dollars, you and yours can each have a copy of your poem in published form...

Conventions. Again, your poem has been "accepted" and is lavishly praised. You’ve even won a prize! But you have to attend a convention to accept this prize, and naturally, the registration fee is a few hundred dollars.

Unknown contest sponsor. The name may seem familiar, but it’s a word or two away from the name of a legitimate poetry organization. Check the Web site. Is the organization associated with anything else? Other publications, societies, anything at all unrelated to this contest? If not, back away quickly. Legitimate poetry organizations focus on the writing community, and the contest is but a sideline.

Contest sponsor is difficult to contact. Is there a phone number? A contact name? Are your questions answered quickly, or is the response slow to come or evasive?

Advertisements in daily newspapers or magazines unrelated to the writing field. Legitimate organizations advertise contests in publications targeted for the writing community and do not spend gobs of money on mass-market publications.

Low standards. Each and every poem—from quality to awful—is accepted and lavishly praised.

Past winners are nowhere to be found... If it’s next to impossible to find the work of past winners, then, well . . . you get the picture. However, if you are able to find the previous winners and their work is mediocre, then obviously the standards of the contest are lukewarm as well.

Short poems preferred (or required). The better to fit into an anthology, which is what the sponsor is trying to sell anyway.

If the warning bells clanging in your head aren’t enough, do some research of your own. A Google search for "poetry scams" on the Internet will give you lists of the worst contests. And legitimate contests are out there if you’re willing to do a bit of research. Try About.com for a list of reputable contests, check the reputable market listings such as those found in Poets & Writers Magazine, Poet’s Market, Writer's Digest, or consult with your local poetry society.

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Author’s Submission Service Since 1994

A good poet is able to find the natural rhythms of everyday life and express them eloquently in words. But where do the ideas come from? There are thousands of poems out there about tired subjects like love and war; as a poet, your job is to find either a new and original take on these overused subjects or bring an original idea to life. Sometimes, however, the poetry muse takes a hike...and doesn’t return.

Here are just a few of the many ways to either discover or reclaim your wayward muse:

Look around you. Anything, anything at all can be the subject of a poem if dealt with in an original and creative matter.

Keep a notebook with you at all times and keep an eye on the people and places around you. The grocery store, the park, the bus—all can inspire new and creative ideas for poems. You might not necessarily write about what you see, but ideas may come to you in different settings.

Keep a notebook beside the bed for ideas that stem from dreams. Or write a poem about a dream you wish you’d had.

Keep a file of ideas—clippings, sketches, quotes—anything that may inspire a poem later on.

Writing prompts can often generate original thought. Try a "what if" scenario: What if children ruled the world? What if you woke up three feet taller?

Write about something "ugly" and make it beautiful through imagery.

Write a poem that consists solely of dialogue. Or create a poem from a list (i.e. the ten best pieces of advice I ever received).

Write a poem about someone from a distant place and time as if you were that person.

Write about an inanimate object—or from the object’s point of view. "Ode to a Paperclip" may not get you published, but it may spark creativity and original ideas.

Write from someone else’s point of view. Instead of yet another poem about Christmas, try writing about Christmas from the point of view of the homeless woman on the corner. Avoid using the word "Christmas" and rely on imagery instead.

Write about something you did NOT experience but wish you had (i.e. Woodstock) or an era in which you’d like to have lived.

Try writing passionately about something you passionately do NOT believe in—and make it convincing. Write about the joy of being a skinflint or how lovely it is to kill baby seals. Try this with or without the use of irony.

Go back to your childhood and write an apology in the form of a poem. Write a poem to someone you wish you had known or confront someone who did you wrong.

Scan newspaper or magazine headlines—write a poem about the woman who gave birth to six alien babies or the man who built a shrine to cockroaches. Take risks and experiment with the bizarre.

Take your personal demons and put them down on paper. If the subject is painful yet rings true, it will strike a chord with your readers. Don’t be afraid to tackle uncomfortable subjects.

Take on the cliches directly: try writing a good love poem without once using the word "love." Take it a step further and eliminate the words "joy," "desire," and "heart."

Read contemporary poets’ work. Read all you can. Identify what makes a poem call to you and analyze what makes you dislike other poems. Gain inspiration from others’ work.

Remember: all subject matter is worthy. A good poet need not have traveled the world or lived a life of tragedy. Look in your own metaphorical backyard for material.

Above all, keep writing, keep submitting, and write some more. The poems that result may not be worthy, but keep it up. It’s better to write a bad poem than to not write one at all. Eventually, even when your muse has flown the coop, the right poem will emerge.

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Author’s Submission Service Since 1994

Poems can be constructed in either free verse or formal verse. Most poets today write free verse which is open to pattern and is recognized as nonconforming and rhymeless verse. Metrical verse relies on stanza length combined with meter or rhyme patterns distinct to itself. There are several traditional commonly-known forms of poetry.

Haiku, a form of Japanese descent, consists of three lines of five, seven, and five syllables respectively, and traditionally deals with nature subjects.

A sonnet, whether of English or Italian rhyming scheme, is a single- or two-stanza lyric poem containing fourteen lines written in iambic pentameter. Shakespeare's love sonnets are well-known.

Most journals of literary note do not embrace traditional rhyme and form poetry, preferring the more commonly used free verse which is not bound by any rules of meter and rhyme. Unless you're the Earl of Rochester or Alexander Pope, it would be best to stick with the unconventional verse. Here are some traditional types of poetry and free forms:

Sestina - The sestina is a six-line stanza followed by a three-line stanza. There is a predetermined pattern in that the same six words are repeated at the end of lines throughout the poem. The last word in the last line of one stanza becomes the last word of the first line in the next stanza. Then rounding it off with the final three line stanza, all six end words appear. You may want to read some of Sylvia Plath's sestinas to familiarize yourself with this form.

Two forms that are closely related to each other are the villanelle and the pantoum. The villanelle, a nineteen-line poem, is made up of five 3-line stanzas and one 4-line stanza (or quatrain) at the end of the poem. Alternating between the ends of each tercet (3-line stanza) there are two refrains that eventually end up forming the last two lines of the quatrain. Dylan Thomas's "Do Not Go Gentle Into That Good Night" is an example of a villanelle. The pantoum is comprised totally of quatrains. In each stanza the second and fourth lines are repeated in the first and third lines of the following stanza, until the final stanza where the first line is the poem's first and the second line is the poem's third line. "Evening Harmony" by Charles Baudelaire is an example of a pantoum.

Free verse does come in various forms, the most common being driven by cadence in which common language rhythm is substituted for regular metrical pattern, which can be seen in the works of Walt Whitman and the King James Bible version of The Psalms and The Song of Solomon.

A second type of free verse is free iambic verse which was used by such poets as T.S. Eliot and W.H. Auden.

A third form is the free verse proper, the most used form, where the inconsistency is at the center of the poem. There is no set metrical rhyme or patterns of meter and rhythm. Unlike traditional verse, free form is not constrained by the rules regulating syllables in stanzas.

There is often confusion as to what is meant by visual poetry. If you have written a very descriptive poem about a whale, it may be a wonderful free verse poem, but not visual. If you have written the same poem and the presentation of the piece is in the shape of a whale, you have written a visual poem.

Other various forms of avant-garde poetry related to free verse are surrealism, concrete, and language poetry.

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Author’s Submission Service Since 1994