Writers Publishing Exchange will have a speaker next week to help propel and inform our publishing careers.
Sandra Marchetti and I met on SheWrites back in 2011 where we were learning about platforms and submissions and other things few MFA programs teach. She has repeatedly opened my eyes to what goes on behind the scenes of publishing. Watching her climb higher and higher on that ladder of success has also been wonderful.
Sandra will share insight gleaned from her experience as a poet and essayist publishing in long and short form. She will discuss establishing a platform that includes awards, the realities of how a book and author earn publicity, formatting manuscripts, etc.
Sandra is the author of Confluence, a full-length collection of poetry from Sundress Publications. She is also the author of four chapbooks of poetry and lyric essays, including Sight Lines (Speaking of Marvels Press, 2016), Heart Radicals (ELJ Publications, 2016), A Detail in the Landscape (Eating Dog Press, 2014), and The Canopy (MWC Press, 2012). Sandra’s poetry appears in Poet Lore, Blackbird, Ecotone, Southwest Review, River Styx, and elsewhere. Her essays can be found at The Rumpus, Whiskey Island, Mid-American Review, Barrelhouse, Pleiades, and other venues. She earned an MFA in Creative Writing—Poetry from George Mason University and now serves as the Coordinator of Tutoring Services at the College of DuPage in the Chicagoland area.
There will be a Q&A afterward with Sandra and then a discussion with the group. Ask the group questions about any part of the publishing process or for leads, for beta readers, for critiques, etc.
Join us via Zoom from 7-830 PM on Wednesday, 17 July. $10 payment required via Zelle or Paypal for meeting link. (We pay speakers.) Contact me for more information.
If you're interested in speaking or have an idea for a speaker, let me know. If you're interested in participating in a critique group, give a shout out. Please spread the word via Twitter, Facebook, etc.
Roxane Gary started PANK, which gave her visibility. Cheryl Strayed was published in The Sun and wrote the Dear Sugar column in The Rumpus. We could go on and on about the various ways nonfiction's biggest names developed their platforms. The common theme would be that they had a platform. Platforms gave them name recognition and an audience who already knew them (much like celebrities), which exponentially amplified their chances of being picked up by a publisher and agent.
Do you have a platform? Are you using it to talk to the prospective readers, or are you only talking to other writers? Nonfiction writers, unlike fiction writers or poets, unequivocally must have a platform. However, other genre writers also boost their chances of landing a more prestigious agent and publisher with a developed platform.
Jane Friedman, who has worked for F+W Media and the Virginia Quarterly Review and whose advice to aspiring authors has been featured by The New York Times, The Washington Post, and NPR, offers abundant advice on how to build your platform. Consider the visibility notion.
"Visibility means: Where do you or your work regularly appear? How many people see it? How does it spread? Where does it spread? What communities are you a part of? Who do you influence?" she writes. "It’s typically not enough to say you have visibility. You have to show how and where you make an impact and give proof of engagement."
Platforms might contain a variety of means of communicating with perspective readers: your e-mail newsletter list, website traffic, high-profile reviews, testimonials from A-listers in your genre.
"A lot of people confuse platform building with marketing, promotion, and publicity," Friedman says. "While those types of activities can build your platform, let’s be clear: being an extrovert on social media will not, by itself, lead you to a platform that interests publishers."
The methods to building a platform are countless. Writers from across the world are invited to learn more in a live Zoom chat with the Writers Publishing Exchange, a (usually monthly) meeting of aspiring authors.
Would you like to share some Writers Publishing Exchange convenes once monthly to help aspiring authors discover the business side of publishing to attract the best agent and publisher. The WBE is open to writers nationwide. Seasoned publishing experts and veteran authors help us to produce the necessary elements before publication:
A spinoff critique group will consider short pieces and book-length works.
Want to join in person or by Zoom? Want to speak to us about your successes or foibles? Contact me, Nichole L. Reber.
What are some of the best resources to find Native writers and their works? Who are some Natives you read?LLG: It is quite a challenge for almost all Native writers to get their work out there, and it is a sad thing that so many are un- or under-recognized. Here are some (and only some) whose fiction/prose/poetry work I admire: Geary Hobson, LeAnne Howe, Susan Power, Louise Erdrich, Eric Gansworth, Heid Erdrich, Kim Blaeser, David Treuer, Stephen Graham Jones, Erika Wurth, and Diane Glancy.
Check out her latest release: The Sky Watched: Poems of Ojibwe Lives.
Read the whole, brief interview here.
Today’s nonfiction writers have at hand a number of forms other than the essay and the memoir. There’s the flash essay, of course, and literary journalism. Then there’s the catch-all form of nonfiction known as the lyric essay. So, what do they all mean?
It’s easy to find an anthology on the flash form, possibly because Dinty W. Moore made the form famous in Brevity. He also edited the Rose Metal Press Guide to Writing Flash Nonfiction, an anthology that contains a rather academic intro to discuss the flash essay, several examples of it by Nicole Walker, the late Judith Kitchen (likely the quintessential expert on the form and its biggest champion), and many others. These writers also offer writing prompts or assignments that let writers start off with a bang.
David Shields and Elizabeth Cooperman have compiled another anthology of short essays called Life Is Short— Art Is Shorter. The book claims to be a “rally for compression, concise, and velocity.” It begins a chaotic mess potentially intended to be a collage essay masking as an introduction by Shields. The rest, however, is another worthy collection of examples of the flash essay and prose poems. They’re gathered into sections called “Object,” “Prose Poem,” “Image Becomes Metaphor.” There are also sections that demonstrate the collage essay, trick stories, and criticism as autobiography as written by the likes of Lauren Slater, Lydia Davis, and Anne Lamott.
Check out the full post, including more examples of alternatives and places to find these forms.