How to get accepted by Write Bloody

As some of you know, my poetry publisher Write Bloody has begun accepting manuscripts for their 2010 reading period. The submission deadline for this year is March 30, 2010. Full submission instructions HERE.

In preparation, here are some tips for getting your submission shined up and ready to present. The following represents my thoughts as someone who successfully jumped the hoops last year and has no stamp of approval from the Write Bloody editors. Many of the thoughts are geared toward spoken word artists who may be less practiced at putting poems on the page. Also, WB accepts short story submissions, but I don’t write short storie. This post is for the poets. So, there you go.

Step One, Intentions. If your main interest is in winning poetry slams, making a name for yourself and having some cool merch to sell, this may not be the time for Write Bloody. You could continue to focus on writing and performing poetry while producing your own book to sell at shows. If, however, you have a sincere interest in connecting with a reader through the medium of ink, if you are excited by the challenge of making poems work on the page, considering line breaks and stanzas, punctuation and consistency and working with an editor,  then submitting to a press is a great idea.

Step Two, pull books off your shelf and look at them. Consider the contemporary, non-spoken word poets you love and take a hard look at how their poems function on the page. Dissect a few. If you aren’t interested in this kind of analysis, refer back to Step One. If you are chosen to be published, you will be doing this type of work for months.

Step Three,choose your five poems. Here are my best suggestions:

  • Show range. Submit short poems and long poems. Consider a range of themes, forms and voices. Display your consideration for how a poem looks on the page. Be inventive.
  • Edit them again. Pretend that you are encountering the poem for the first time, having never heard it aloud. Ask yourself, “what does this poem do?” Also ask this, “Does this offer anything new to the literary world?” “How do I stand apart from the 300 other submissions?”
  • Avoid cliche in writing AND appearance of your poems. The following tips are taken from Karyna McGlynn’s workshop handout titled, “Karyna McGlynn’s 30 Publishing Tips for Slam Poets.” Karyna was on slam teams for Austin and Seattle and went on to get an MFA at University of Michigan. She won the Kathryn A. Morton award for her new book of poems, “I Have to Go Back to 1994 and Kill a Girl,” on Sarabande Books.

4) Don’t capitalize the first letter of every line.  This is one of those annoying rules of thumb I give my students, and then immediately encourage them to break. Here’s the thing. Automatic capitalization is a little archaic, and it’s one of the immediately recognizable hallmarks of amateurish poetry from poets who haven’t read anything more recent than Robert Frost. That doesn’t mean that great contemporary poets don’t sometimes do it. I know one very talented experimental poet who capitalizes every single line of every single poem. When challenged, he simply said, “if it was good enough for Yeats, it’s good enough for me.” Well, okay then. All I’m saying is this: if you’re going to do it, have a good reason for it. It must be a deliberate choice, not a default setting. And never ever blame Microsoft Word. It’s very easy to disable the automatic capitalization feature.

5) Don’t center flush. See above about “annoying rules of thumb.” Again, this technique is archaic, often a hallmark of amateurish poetry, and is also likely to annoy many readers. Despite all this, you can do it (to great effect sometimes), just have a reason why you’re doing it. Does it benefit the poem? Is the poem asking to be center flush? Or right flush? Or shaped like a starfish??

6) Use punctuation.  See above about “annoying rules of thumb.” Punctuation—when used correctly, and even when used in a deliberately experimental manner—is your friend. Punctuation is what brings your voice to the page. It instructs the reader how to hear the words in their head—where to pause, where to breathe, where to place emphasis. Some poets are able to get away with not using punctuation. Some do this to introduce deliberate ambiguities. Others have developed a technique in which diction, line breaks and stanza breaks take over the duties of punctuation. But, again, as with most of my annoying rules of thumb, the decision to go without punctuation must be a deliberate aesthetic choice made in the service of your poem.

7) Don’t use a lowercase ‘i’ (as in “i stood in the street with no name”). See “annoying rules of thumb.” The lowercase ‘i’ is often co-opted by young poets newly obsessed with e.e. cummings, or by those who think that the lowercase ‘i’ is a poetic symbol of the insignificance or impotence of the self. Again, this is a rule I encourage poets to break, but usually only in poems in which nothing else is capitalized either, including proper nouns.  It looks stupid when your poem follows all the normal rules of capitalization except for the ‘i.’

8) Don’t write like Prince. RU going 2B a puBLished pOEt if U wrIte like THis? Nope. Well, probably not. Smatterings of this sort of internet/e-mail speak can sometimes be used to great effect (often ironic) when mixed with higher diction, but for the most part, try to keep your spelling/punctuation/capitalization as reader-friendly as possible.  I also encourage poets not to write like Emily Dickinson. In other words, don’t suddenly capitalize Words which aren’t usually capitalized in the Middle of a Line. Poets’ reasons for doing this are often very similar to their reasons for using lowercase ‘i.’ Many feel that by capitalizing “Death” or “Moon” they infuse it with extra meaning; this is simply not the case.

9) Don’t put copyright symbols or copyright notifications on your poems. This isn’t a rule of thumb—it’s a hard and fast rule. Nothing makes you look like more of a paranoid and pompous amateur than that little © symbol, or “copyright 2006 by Karyna McGlynn.” Editors aren’t going to steal your work—trust me. And, even if they were going to, your little © wouldn’t stop them. But remember this: people only steal things of value, and—hate to break it to you—poetry doesn’t have much value in our society. No one’s secretly going to make a killing off your poem about your dead dog (no pun intended). In fact, in the world of poetry publication, you’re lucky if you can give something away. Remember that your poem bears your copyright at the moment you compose it, so be professional; don’t announce your copyright to the world.

10) Don’t use a weird font. Stick to a simple classic serif like Times, Times New Roman, Garamond, New York, Goudy Old Style, Perpetua, Palintino Linotype or Georgia. There are lots of people who would argue this point, but I maintain that poetry always looks better in serifs—sans serifs (e.g. Ariel, Verdana, Century Gothic) are better for display/advertising/headline purposes.

Step Four, Phone a Friend. Find someone whose opinions you trust who is also submitting and buddy up. You can read each other’s work and offer detailed critical feedback. You can also hold hands when the winners are announced. Submitting your poetry to a contest can be stressful and discouraging. I wouldn’t have gotten through the process without Robbie Q, whose book “Spiking the Sucker Punch” is a gorgeous collection of poems. We traded manuscripts and then traded real talk about the poems.

Robbie Q, a Thinking Man

Step Five, Cover Letter. I’m sorry to say I don’t have a lot to offer here. I didn’t need a cover letter for my submission last year. But, I have written query letters for literary agents and can offer a few important points. Be professional. Proof read. Don’t be goofy. Demonstrate an understanding of how to contextualize your work among modern poets. Don’t list minor slam-related credentials, they aren’t impressive. Indicate your willingness to tour and promote yourself. Look polished.

Step Six, Online Presence. If you are serious about becoming successful, you should be polishing up your online presence. For Write Bloody, the press wants to know that you are a poet who can tour, promote yourself and sell books. Most books of poetry are still sold hand-to-hand, so don’t assume that your book will be in every Borders and your work is done. You will need press photos, a web site, a mailing list and whatever other cleverness you can cook up to get noticed. Start now, so that when your name shows up at the top of the submission pile and someone at Write Bloody googles you, they like what they see.

GOOD LUCK EVERYONE! I can’t wait to see who we add to our Write Bloody family this year.


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12 Responses to How to get accepted by Write Bloody

  1. Big Al says:

    One thing that piques my interest in the WB submission process is that they require their authors to tour. Are there more specific requirements poets should know before they consider applying? Can you talk about if or how that factors into the selection process?

  2. mckfrock says:

    Hey Big Al,

    The most quantifiable statement I’ve heard from WB on the subject is that each author is expected to do at least 20 shows per year. I will personally do 25 shows for my book release tour, including 2 book release parties, one in Seattle and one in Long Beach. Many authors have done more and some have done less.

  3. Can says:

    I keep a poetry blog, should I delete all of the poems I intend on using off of my blog before I submit them to WB? Or just wait to see if I am chosen to do so?

  4. Tod Caviness says:

    Oh my goodness yes. Thanks for this. This stuff applies universally. There are a lot of poets’ faces popping up in my head as I read each point, and I’m making them read this.

  5. mckfrock says:

    Hi Can,

    I’m not sure of the correct answer for you, but my instinct is that you can leave the poems up on your site.

  6. Pingback: Chapbooks and Publishing « Minnesota Microphone

  7. Cheyenne Smith says:

    I feel like this would have been exponentially more helpful to me had I read it before submitting on the very first day of the contest, haha. Thanks for the tips though, it reaffirmed some of the decisions I’ve made and pointed out what I could improve on if I need to try again next year and for all future publishing ventures.

    What was your role in the design of your book cover? It’s by far my favorite.

    Thanks, and good luck everyone!

  8. mckfrock says:

    Hi Cheyenne,

    I’m so sorry! My own book release party was March 18 and I couldn’t manage to finish this post before submissions opened.

    I LOVE my book cover too!!! It was already a finished piece of artwork by Amanda Atkins, http://amandaatkins.blogspot.com/

    Derrick Brown sent me a series of covers to choose from and it was always this one from the word go.

  9. Mike says:

    Very informative, Karen. I personally agree with all your poetry “rules” except the first one. Uh…most of the classic poets “broke” this rule. In my opinion, if you’re going to tell someone they shouldn’t capitalize the first letter of every line, you may as well let them spell like Prince and all that other stupid stuff. That’s all very, um…contemp(t)orary.
    Getting to the bottom line, isn’t really mostly about how the reader feels about what they’re reading? Or is beauty just in the eyes of the seasoned critic?

  10. mckfrock says:

    Hi Mike,

    It is important for me to clarify that these “rules” were offered by the poet Karyna McGlynn. I think she does a great job of pointing out the artistic possibility in breaking the rules. Karyna helped me discover some cliches in the way poems work on the page that I wasn’t aware of before attending her workshop.

  11. David Perez says:

    Karen,

    Thanks for taking the time to put this together. Very good info. I’m sure a lot of us in the slam community will benefit from it.

    Cheers,
    dp