Wednesday, August 19, 2015

Going Old School: Nostalgic for the Typewriter

Photo credit: OldTypewriter
Have you noticed a resurgent interest in vintage and portable typewriters? Royal, Smith-Corona, Underwood, Remington--all have caught my eye in neighborhood antique stores and online venues like Etsy, such as this 1970s Red Portable Olivetti Valentine Vintage, sold by OldTypewriter. Combine old-school nostalgia with sleek shapes and clickety-clack acoustic appeal, and it's hard to resist the visual and tactile beauty of these machines, which typically run anywhere from $70-350. You can also find refurbished ones at a brick-and-mortar shops like Gramercy Office Equipment Co in NYC.

A typewriter is "ideal for composing indelible condolences, congratulations and even business letters," according to a 2014 Wall Street Journal article by Steve Garbarino, who also reported on forthcoming gadgets that "promise to bring the typewriter into the digital age": the Hemingwrite (now called Freewrite) by Astrohaus, a cloud-connected word processor with mechanical keys; and the Qwerkywriter, a Bluetooth mechanical keyboard. Each device costs over $300.

If that's not in your budget or you're wedded to the ease of your laptop and digital devices, there's typewriter jewelry to wear, such as these earrings of my initials and a favorite antique locket.


Or, simply pore over typewriter treasures in exhibits all over the world, from the Typewriter Museum in Finland to the Soboroff Typewriter Collection at the Paley Center for Media in Beverly Hills, which displays typewriters by people featured on the cover of Time magazine, including such literary luminaries as Ernest Hemingway, Orson Welles and Ray Bradbury. Watch this CBS video of Steve Soboroff, president of the LA Police Commision, and hear the collector speak about the appeal.




Thursday, August 6, 2015

Tuolumne Meadows Poetry Festival at Parsons Memorial Lodge in Yosemite National Park

Back from my 3-week road trip to the Eastern Sierra, including a stop in Death Valley and two final nights camping just outside Yosemite National Park, I've now framed and hung a lovely letterpress broadside of a poem purchased at the art boutique/visitor center in Lee Vining near Mono Lake.

The poem, Azure Creek, by 8th-century Chinese poet Wang Wei and translated by PEN Award–winner David Hinton, beautifully describes the almost-perennial state of tranquility my wife and I experienced as we practiced idleness of the mind, especially in places where granite rock meets clear water, such as this prime campsite at Rock Creek.

It wasn't easy to select the poem among a collection of broadsides from the annual Tuolumne Meadows Poetry Festival at Parsons Memorial Lodge, which takes place each August. See the postcard for details!










Saturday, July 11, 2015

Writing Maps: "Inspiration in Your Pocket"

Got writer's block? Shaun Levin, a "deviser of Writing Maps," publishes what he calls "inspiration in your pocket" with a plethora of writing prompts in each portable creation. According to the website:
Each illustrated Writing Map contains at least 12 extended and thought-provoking writing exercises that will help you explore the city, the home, characters in fiction and memoir, the writing process, and life in general. Writing Maps are created to suit writers of all genres and levels. Writing Maps are devised to inspire stories, spice up your writing routine, expand your work, develop work-in progress, and make sure you have writerly fun in ways that'll surprise you.
Check out maps such as "City of Inspiration" and "Write by the Sea," and take a look here:

 

Levin is also the creator of The A3 Review, a lit mag that also "folds out like a map," with each section containing a 150-word-limit piece of prose or poetry. What's more, each month there's a Writing Maps writing contest on a theme, with the two winning pieces published in the A3 Review every six months. (Next issue is slated for September 2015.) This month's deadline is July 25:

The prompt for July's Writing Contest is: Journeys. Write the entire story of a single journey in 150 words. A journey around the world or around a room. A journey that took years or just minutes. A physical or spiritual journey. Journeys on foot, or by bus, train or plane. Real or imagined journeys, intergalactic journeys or a trip to the supermarket. Write about this journey as a poem, or in the form of a short story, a graphic story or a snippet of memoir. Fiction or autobiography, SF or mis mem, erotic or academic. Maximum 150 words.

Speaking of journeys, I'm hitting the highway at dawn tomorrow with my wife-partner for some of our favorite stomping grounds in the Eastern Sierra during a 3-week camping road trip. My posts have been sporadic lately, but I intend to get back to the blogosphere post-summer. So, keep writing...

Driving toward the Sierra Nevada from the Inyo Mountains
Photo credit: Nicole R. Zimmerman





Sunday, May 31, 2015

Haiku in May




Gleaming white naked sheep graze


Wind chimes silence train




Garden growing, need more rain?


Thursday, April 23, 2015

National Poetry Month: Weekly Gems for Your Inbox with Poem-A-Day and Weekend Sherpa

I've been clearing out my email lately, unsubscribing from reams of newsletters, deals and alerts that flood my inbox daily. But, in addition to keeping my tried-and-true weekly round-up of lit mag goodness from The Review Review and Duotrope, I've just added two more to the list: Weekend Sherpa and National Poetry Month's Poem-a-Day.

I recently applied as a freelance writer to Weekend Sherpa, a Sonoma-based company that offers "insiders' recommendations on the best outdoor pursuits exclusive to California," and which I only now realize I mistakenly misspelled as one word (WeekendSherpa) in my letter of interest--a copywriter's nightmare.

Ah well. If I don't get any assignments describing favorite weekend getaways, at least I've got weekly inspiration in my inbox: this week's newsletter highlights San Francisco GoCars (I just did a rewrite for one in San Diego for Viator!) and a Segway ride around Angel Island ("They're fun and goofy... kinda like the Hall & Oates of outdoor recreation").

April is National Poetry Month, and I know I'm a little late here after tax day and the last frost date, but there are some really cool happenings for this annual event, considered by the Academy of American poets to be "the largest literary celebration in the world."

This year's poster, which holds the spotlight at my local library, was designed by National Book Award finalist Roz Chast, whose comic memoir Can't We Talk About Something More Pleasant? made me laugh out loud throughout, even though the topic--aging in America--isn't funny. If you'd like to post this one in your classroom, library or home office, you can request a free poster!

In addition to attending special events and readings throughout the country, you can sign up for National Poetry Month's aforementioned Poem-a-Day: receive original, previously unpublished poems  throughout the week and classic poems on weekends.

Finally, for any of you teachers out there, Dear Poet is a multimedia education project for grades 5 through 12 where students write letters in response to poems by award-winning poets (see the video below of Naomi Shihab Nye reading "How Do I Know When a Poem Is Finished?"). A curriculum specialist even helped design a series of classroom activities aligned with the Common Core.

According to the website:
Students—to participate in this year’s Dear Poet project, watch the videos below of Chancellors reading and discussing one of their poems. Then, write them a letter in response and send it by post or email to the Academy of American Poets, 75 Maiden Lane, Suite 901, New York, NY 10038 ordearpoet@poets.org by April 30, 2015. Please include your name and the name of the poet to whom you’ve written. We will consider all letters for publication on Poets.org in May 2015. And our Chancellors will reply to select letters of their choosing.

Monday, March 23, 2015

Small Press Roulette: a grab bag of literary goodies


Do you want to dive into literary journals but don't know where to start? Feel like perusing flash fiction or experimental work, but your local bookstore doesn't carry what you're looking for?
Check out SmallPressRoulette, an etsy store created by "Karen, the Small Press Librarian," aka Karen Lillis, an author who runs a pop up indie press bookstand of literary treasures called Small Press Pittsburgh. You choose your basic genre and price point, and she'll handpick something and send you a grab bag (usually one book with some small extras thrown in).

From her etsy site:

I have a carefully curated selection of contemporary small press books, zines, and literary magazines available. Many books are from Pittsburgh's finest emerging authors or indie publishers, but. I also have a variety of choice indie press books and zines from other cities like SF, NYC, Chicago, LA, and more. I've added a variety of price points, between $2 and $15, so look on my Etsy store for other roulette prices. 

When ordering, please choose one of the following genres: Fiction, poetry, creative nonfiction, THIRD GENRE (experimental writing or something in btwn prose & poetry), literary magazine, zine, comix/graphix/illustration, or Total Surprise.

Monday, March 9, 2015

Tinder, Gawker and Other Writing Prompts at First Friday Pens and Pints with Petals & Bones

Had a blast at the Pens and Pints First Friday Writing Bonanza, a monthly event created by Petals and Bones that takes place at Jack and Tony's Whisky Bar in Santa Rosa. About 10 of us crammed into a large corner booth near the bar, notebooks and pens competing for space on the table with a variety of drinks (I had STRAIGHT ON 'TIL MORNING: Hibiscus & strawberry infused Rum, lychee puree, lime juice & rhubarb bitters), garlic fries and lit candles as the space darkened--evidenced by my crappy photo that shows no faces.

Hilarity ensued as Dani Burlison and Leilani Clark led us with three prompts over the course of two hours. We'd scribble furiously for about seven minutes, then go around the table and read aloud. It's great practice for getting words onto the page quickly before the inner critic can rush in, and sharing with others breaks a similar barrier.

Out three prompts included celebrity encounters (" 'Huey!' I yelled out the limousine window"), a letter of complaint or support to Tinder, a dating app ("Any swipe can change your life" is the tagline--check out their promo video that makes hooking up with strangers while traveling solo look oh-so-simple-and-fun), and a Gawker headline (tagline: "Today's gossip is tomorrow's news"). Here's mine:



You can read testimonials about their workshops (including mine) at the Petals and Bones website.

Monday, March 2, 2015

The Ups and Downs of Submissions & Rejections

Thank you for the opportunity to consider your work. Unfortunately, it doesn't fit CutBank's needs at this time. We wish you the best of luck in placing it elsewhere. Regards, CutBank Literary Journal 

The first rejection rolled in mid-February for my essay "Wildish Woman: A Portrait." A writer friend recently remarked that I have 'thick skin.' Honestly, it doesn't bother me to be rejected because I expect it. I usually submit a piece to several publications at once, knowing that statistically it's just more likely a submission will be rejected more often than accepted. It's par for the course. 

Here's what my Duotrope submissions tracker looks like from December 2014 to February 2015: 


I've got that essay pending responses from four more lit journals, with a few more lined up to send it to with future deadlines should I have the misfortune to be rejected from all of the above. I'm always looking at contests and calls for submissions in my Duotrope weekly email catered to nonfiction, my Review Review weekly email, or the monthly Poets&Writers listings in the back of the magazine. 

It's quite fun and interesting to look up new journals I've never heard of and to consider which themes or journal styles may be a fit for a particular essay. cahoodaloodaling, for instance, sent an encouraging and personalized "please send more of your work" rejection and has a March 21 deadline for a "he said/she said" theme for which I aim to revise a blurring-the-boundaries piece I wrote in my MFA fiction class based on a three-month foray into the online world of match.com:
What was said? You tell us. This issue we’re seeking submissions with conversations, dialogues, and quotations. While we want a strong conversational component to each piece selected for He Said/She Said, this call for submissions is theme, not form, based. Send us your visual, audio, written, and multimedia work of any genre and style that you feel speaks to this theme. This is a great opportunity to submit a scene from your play or to collaborate with others.
In the meantime, I'm also waiting to hear about two reprints I submitted to Nowhere and Sequestrum; I sent a revision of an essay "Pearls," about my paternal grandmother, to an elders-themed issue of biostories; and I reworked a short essay called "Welcome to Womanhood" for a new anthology chronicling humiliating experiences that should make the reader cringe and wither to consider.

Monday, February 16, 2015

How to be a Better Writer: On Perseverance

Madly at work on several essay revisions, I've been feeling a bit mad (as in crazy, not angry) as I witness the erratic pace of my own writing process. After clocking 60 hours in January on the revision(s) of "Wildish Woman: A Portrait," about a wildlife biologist in Alaska, the writing went dormant in the post-submission phase as I recovered from the burn-out and accompanying self-doubt that followed. It took another two weeks before I could start up again, then--BAM! I spent all weekend writing another short draft for an anthology and completing a 2,500-word essay revision. If I were to graph the inert vs. active phases of my writing like an EKG, the spikes and dips might look like this:



Recently, someone sent a link to "25 Insights on Becoming a Better Writer." Check out this list compiled by Jocelyn K. Glei--what she calls "snippets of insight from some exceptional authors."

9. Sarah Waters: On being disciplined…


Treat writing as a job. Be disciplined. Lots of writers get a bit OCD-ish about this. Graham Greene famously wrote 500 words a day. Jean Plaidy managed 5,000 before lunch, then spent the afternoon answering fan mail. My minimum is 1,000 words a day – which is sometimes easy to achieve, and is sometimes, frankly, like shitting a brick, but I will make myself stay at my desk until I’ve got there, because I know that by doing that I am inching the book forward. Those 1,000 words might well be rubbish – they often are. But then, it is always easier to return to rubbish words at a later date and make them better.

20. Hilary Mantel: On getting stuck…


If you get stuck, get away from your desk. Take a walk, take a bath, go to sleep, make a pie, draw, listen to music, meditate, exercise; whatever you do, don’t just stick there scowling at the problem. But don’t make telephone calls or go to a party; if you do, other people’s words will pour in where your lost words should be. Open a gap for them, create a space. Be patient.

24. Joyce Carol Oates: On persevering…


I have forced myself to begin writing when I’ve been utterly exhausted, when I’ve felt my soul as thin as a playing card, when nothing has seemed worth enduring for another five minutes… and somehow the activity of writing changes everything. Or appears to do so.

Monday, January 12, 2015

Write Like A Serial Killer: Authors Talk About the Compulsion to Create at Poets&Writers LIVE


At Saturday's Poets&Writers LIVE event in San Francisco, my MFA friends and I found the most interesting panel session to be Why We Write, modeled after the magazine's column of the same name. Melissa Faliveno, the magazine's associate editor who moderated the panel of five writers and poets, referenced a prior stage conversation between David Shields and Caleb Powell regarding their recently published collaboration I Think You're Totally Wrong: A Quarrel, in which the two debate the merits of being wholly devoted to art or to life.

"My job is to curate my feelings as a writer," said Shields, author of 16 books with four more coming out in the next year. He spoke about the weaving of a psychic wound into art: "The best art is in conversation with that wound, even if it never talks about it." 

In an excerpt we watched of the upcoming film adaptation of the book by James Franco, each man pointed to a physical accident and resulting injury that shifted their trajectories toward becoming writers. The prolific Shields, who teaches at Warren Wilson College, said he became "addicted to writing books." In the P&W article "Art vs. Life," he addresses the cost of that singular kind of focus: "I always wanted to become a human being, but I overcommitted to art." Shields accuses his former student Powell, a stay-at-home father of three young girls, of doing the opposite: "My conception was that you wanted to be an artist, but you overcommitted to life."

It was the perfect jumping-off point for this panel of writers who were asked about the challenges of showing up for writing "when family, jobs and other obligations throw a boulder in your path."

Here are some snippets from that conversation that I scribbled into my notebook:

Michelle Tea, an author of five memoirs and two novels, said it was easy to show up for it when she was writing fervently in her twenties. She mentioned her "insane relationship" with her own writing in which she can't trust her inner critic and is baffled each time she sits down to write a new book, and described her writing approach as "barf a bunch out and clean it up later." Tea, who also just had a baby, admitted, "I don't know how I'll ever write again."

D.A. Powell, an award-winning poet who teaches at my alma mater USF, talked about writing as a process of turning outside what we have a natural tendency to do internally (in our observations and introspections). He said quality time means "I'm going to devote this moment" and encouraged: "Keep assembling your language. Something will come from it."

"Consistent practice like a pianist," recommended Alejandro Murguia, an American Book Award author and the sixth San Francisco Poet Laureate. To move past stumbling blocks he reads others' work, which allows him to then "enter my own text creatively inspired." He emphasized the value of reading aloud: "Making yourself sensitive to language." In a melodic voice he described the writing and revision process: "Cut away and expand and cut and expand until that final polished (poem) is like a dwarf star: one spoonful weighing three tons."

Yiyun Li, author of Kinder Than Solitude and several other books, learned discipline first as a scientist. "There's no excuse to wait for inspiration," she said about writing from 12 to 4 a.m. when her two babies were asleep. Aside from the pressures of real life, she said fiction fulfills "a desire to be with my characters."

Wendy Lesser, founding editor of the Threepenny Review and author of nine nonfiction books and a novel, quoted the poet Robert Pinksy: "I enjoy having written." She humorously described the compulsion of writing like that of a serial killer--the pressure to do it builds and builds, he has to do it, then... oh, it feels so great.




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