Tag: creative writing

When I take my shot

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I sometimes actually hit the mark.

At the start of this year, I set the goal of submitting at least one hundred times in 2019. It’s a realistic goal, and one that many writers take on at some point in order to increase their chances of publication.

I haven’t been keeping pace to meet it, but I have been submitting way more than I have in the past.

And I’m happy to say that the effort has been paying off.

I entered the Iowa Poetry Association’s annual contest. Though I didn’t win one of the prizes, I received word that my poem, “When I start paying attention,” will be appearing in the annual Lyrical Iowa anthology. You can order the anthology here: https://iowapoetry.com/orderbooks.htm

I recently had my very first poetry publication in an online magazine called From The Edge. My poem, “Sonnet Feeding Friends,” was included in the Autumn 2019 issue. The editor included this note in the Editorial description:

…and Caroliena Cabada handles with sensitivity marriage  with an enviable extended metaphor that shows a great knowledge of the bible.

From The Edge poetry magazine editor Fiona Sinclair

And finally, a flash fiction piece I wrote around this time last year, called “How To Grow Basil,” was accepted for publication twice (after initially being rejected 16 times). The story will be appearing in Issue No. 11 of Barren Magazine, and will be subsequently reprinted in the anthology Heat the Grease, We’re Frying Up Some Poetry published by Gnashing Teeth Publishing.

There is more to say about determination, resilience, and taking chances, but that’s another post for another day. I’m grateful to the publications that have given these pieces a home, honored to be included in the company of so many talented writers, and excited to be able to share my writing both online and in print.

Header image from Pixabay.

Author Toolbox Blog Hop: Building a reputation (beyond writing and publishing)

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Let me say this first: The best way to increase your writing reputation is to get published. Whether it’s publishing a well-received indie or self-pubbed title, or getting published in literary journals or widely-read magazines, getting your work out there, from what I understand, is the way to demonstrate that you are a writer of repute.

But sometimes, the publishing game can become a vicious circle. Publications may rely on name recognition or your past publishing history to determine whether or not to take your work, but how can you build that history if no one will publish you? While some of this advice may feel like putting the cart before the horse (i.e., giving marketing advice without having something to market), I do think that building your writing reputation can help you get off on the right foot when you start gaining traction with your writing.

To start, let’s talk about online relationships and network building.

This semester, I’m taking a course called Teaching of Literature and the Literature Curriculum, and it’s part pedagogy course, part literature criticism and analysis. One of the course requirements is to be somewhat active on Twitter, not just to extend the discussion from the classroom into public, online spaces, but to also connect with other teachers to share ideas, resources, and engage in some digital networking to inform our future teaching careers. We’re required to follow teachers on Twitter, participate in Twitter chats, and share our thoughts on English education using the course hashtag.

It has been really fascinating to use Twitter as part of a class, having used it in a personal and professional capacity. It’s helped reveal to me some of the aspects of social media that I’ve picked up somewhat unconsciously, and I’ve been finding some ways in which my use of Twitter for class can inform the ways I use Twitter for my writing. Engaging in hashtag games, Twitter chats, and more are all relatively easy ways to connect with fellow writers and also reach potential readers. There’s a lot of talk about having an “online presence” and the do’s and don’ts of being online (DO tweet regularly, but DON’T have your account be just purely promoting your book, etc.). But it’s more than just having a place people can go to find out more information about you and your writing. It’s also a place for you to go and find people who are doing interesting things.

All this said, there is still something to building connections offline; it’s a matter of meeting people where they are.

Working in social media, marketing, and communications, the main argument for using social media is that it is “where everyone is.” It’s where conversations and sharing are happening, and we should be meeting people where they are. However, there are still limitations to social media. There’s a minimum requirement for tech (a smartphone or laptop, a reliable internet connection, etc.) that may be difficult for many people to reach. The ethereal algorithm makes it so that it’s not a guarantee that what you share on social media will actually reach everyone you want it to reach. And then there’s the fact that people are in a love-hate relationship with social media right now, and the advice to occasionally disconnect from the online world becomes more and more prevalent.

Which is why I also recommend disconnecting every once in a while and finding in-person events to attend. This past weekend I went to the Twin Cities Book Festival and got to see a lot of different vendors and presses, even chatting occasionally with authors and asking questions about their work. I’ve also taken in-person creative writing classes in New York with Gotham Writers, and have been to events in the Asian American Writers’ Workshop space. Attending these classes and these events have broadened my horizons and also put me in contact with people who have become essential to my writing life (and my life in general), from new writing friends to mentors who believe in my journey as a writer.

Sometimes location can make it difficult to find events to attend. I’ve moved from New York City to Ames, Iowa for grad school, and there has been a dramatic change in the kind of access I have to writing events. However, I’m lucky that my university has a robust lecture and event series that I can take advantage of, and there are nearby cities that have more of the literary events that I’m looking for. Plus, in an area that might be bereft of literary life, it might be an incentive to start a new events series.

Another possible way to build your writing reputation is to volunteer in specific writing capacities.

This past year or so I’ve been volunteering as a reader for Empire and Great Jones Little Press for their three journals, Ember, Spark, and Zetetic. As part of my MFA I’m also reading slush for the journal Flyway, which is run by the program. These can help build my writing reputation because I’m part of these literary publications and am getting experience in this part of the writing/publishing process.

Other ways to volunteer in specifically writing capacities that I can think of: Teaching or running an after school writing program, being a Municipal Liaison for a local NaNoWriMo chapter, creating an in-person meet-up for writers at your local public library. All of these are great ways to build local connections but also demonstrate to others outside of these local contexts that you have experience and have immersed yourself heavily in this world.

All this said, remember to step back and appreciate the time and effort you have put in so far, and recognize your achievements.

Maybe it’s been a while since you’ve published, or maybe your social media growth is stagnating for one reason or another. These periods will happen, and it can be a great time to reflect back on all that you have done so far to build up your reputation as a writer. View them from a different light, share the memories with people on social or in person, and use them as a way to focus where you want to go from here.

What do you think? What are other ways writers can build their writing reputation (aside from publishing)?

This post was written as part of the #AuthorToolboxBlogHop organized by the human dynamo, Raimey Gallant. Every month, authors at all stages of their career blog about specific resources/learning opportunities for fellow writers. To continue hopping through other great blogs in the monthly #AuthorToolboxBlogHop, click here.

Header image from Pixabay.

Author Toolbox Blog Hop: Keep a little of your self for yourself

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I’ve been grappling with the “Write what you know” adage again. Earlier this month, about midway through the third week of classes, I made a list in my journal of “Things I have learned in grad school so far.” At the top of that list is this little note to myself:

Keep your interests and passions alive…Not everything you experience has to be fuel for your creative fire. In fact, it is probably best if that’s not the case. I am all for going out and experiencing life and drawing from your well of memories to inform your creative work. But keep a little of your self for yourself.

I know that the old saying of “Write what you know” is largely a matter of being able to convey truth in fiction. “Write what you know” means using your knowledge to inform a story, making it more believable to the reader, and doesn’t necessarily mean that you must write solely based on lived experience.

But the idea still persists that writers, to some degree, must use their lives and their memories to fuel their creative works. Pushing this idea, though, can quickly become problematic.

I think of this tweet thread from the poet Chen Chen:

When I read this tweet thread, I couldn’t hit the retweet button fast enough. And I feel that this idea may work in reverse: Not only is there the presumption that minorities have more trauma to write about, but when they do write about trauma, they must be writing from personal experience.

Do my experiences (some of which, yes, aren’t all sunshine and daisies) inform the stories I write? Yes. My stories are often built up around something I’ve done that I then twist, change, and alter until I’m not writing about a memory but something completely new. Still, I sometimes worry that, although I am writing fiction, readers may try to “decode” the story by retracing my steps to find the original sliver of my reality that served as the starting point, and then take it one step too far to try and decode me. While I don’t strictly believe in the “death of the author” mode of performing literary criticism, I don’t particularly enjoy the idea of people trying to pass judgement on my life through the medium of the stories I tell. That’s unfair, I think, to all stories that writers write.

I’ve deviated a little from the first lesson I’ve learned in grad school: Keep the passion for things outside of writing alive. I worry, sometimes, that the idea of creative burnout isn’t taken seriously enough. Not only are writers overworked, with the constant hustle of the publishing game and all of the necessary tasks that pile up in order to make a living as a writer. But there’s an expectation that writers, and all creative types, must perform some kind of self-immolation in order to be a “real” artist. Everything about us is fair game for the works we produce. But we can’t complain about how heavily this weighs on us, because artists have the “luxury” of pursuing passion rather than pragmatism.

Don’t buy into it. Keep a little of your self for yourself.

What do you think? Is everything in a writer’s life fair game? How do you find the balance between your writing life and your personal life, if such a balance exists?

This post was written as part of the #AuthorToolboxBlogHop organized by the human dynamo, Raimey Gallant. Every month, authors at all stages of their career blog about specific resources/learning opportunities for fellow writers. To continue hopping through other great blogs in the monthly #AuthorToolboxBlogHop, click here.

Author Toolbox Blog Hop: Learning how to write, part two

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When I wrote this Author Toolbox Blog Hop post back in January, I had just finished submitting the last of my graduate school applications. Once I got my sixth and final confirmation email that my application materials were received, I immediately thought that I would get flat rejections from all six programs. All of the doubts and worries about not getting in anywhere filled the vacuum that writing samples and personal statements had left behind. So I put together a learning plan to improve my skills and be in a better position to get accepted the second time around.

But then in March I got a call from my top choice school, Iowa State University, telling me I was accepted and also offered the Pearl Hogrefe Fellowship in Creative Writing. By that point, I had fallen behind on most parts of my plan, but I was still writing regularly. Fast forward to the past few weeks wrapping up loose ends with my job while also saying my goodbyes to New York City and the people in it. I’ve been barely writing at all because of how much I had to get done before moving.

Now, I’m in Ames, nervous and excited and ready as I’ll ever be for this new phase of my writing life.

There are countless articles, blogs, and pro/con lists about the MFA degree and whether or not it’s “worth it.” When I read through some of these things as I was making the decision to apply, the only thing I became certain of was that there’s no one true answer to the MFA question, no hard Yes or No. I had to decide the “worthiness” on my own, and eventually I decided that yes, I wanted to pursue this. For me, my reasons for applying boiled down to:

  • Wanting to throw myself into writing to see how far I could go with it; an MFA environment can give me the time, space, and support to experiment and learn.
  • Wanting to meet more writers like me, who were seeking that same time, space, and support to learn and grow.
  • Wanting to go back to school for a graduate degree; a fully-funded MFA program fit the bill.
  • Wanting a change of scenery; as much as I loved New York, it was getting a little overwhelming.
  • Wanting a way to transition from my current career path to something in publishing, whether as an author or editor; there are obviously many ways to do this, and an MFA program can be one of them.

Classes start next week, and so far (before I’ve even officially started the program) I feel confident that I’ll be fulfilling all of the wants I’ve listed above. Already I’ve met some of the members of my cohort, all of them friendly and fascinating, and Ames is definitely a change of scenery from New York. We’ll see in three years if my feeling is right.

Do you have a degree in creative writing? What do you think of creative writing programs in general?

This post was written as part of the #AuthorToolboxBlogHop organized by the human dynamo, Raimey Gallant. Every month, authors at all stages of their career blog about specific resources/learning opportunities for fellow writers. To continue hopping through other great blogs in the monthly #AuthorToolboxBlogHop, click here.

Header image from Pixabay.