Summa Summarum

Submissions are closed for Magnapoets print journal issue 5 (January 2010)

Next submission period is May 1-31, 2010.

Last day for submissions to Magnapoets print journal

We are swamped and we are NOT extending the deadline. You've got until midnight EST to get your submisison in. Next submission period is May 1-31, 2010.

So, what constitutes a bona fide publishing credit?

 

I've talked about how some  "publications" aren't real publications at all, and poems that get published in some of them might actually hurt a poet's credibility as a good writer. So, what constitutes a genuine publishing credit?

First of all, we have to look at what makes some publications poor excuses for a literary magazine(and, unfortunately, many internet publications fall into these categories). This can be summed up thusly: 1.) Ignorance of copyright law, 2.) Poor quality poems published, or inconsistency in quality of published poems, and 3.) Publications run by "editors" who don't know what they're doing. Let me give you some examples.

There are quite a few online poetry publications and some print publications that assume they own any of the poems they publish. Do they? What do their governing rules and guidelines state? In some cases, no copyright matters are addressed, and that should be a big red flag to you right there. NEVER submit to a publication that doesn't state clear guideline and copyright issues. Others state, "copyright returns to authors upon publication", then turn around and violate that by publishing work in anthologies, online sites affiliated with their publication, or they "loan" your work out to their friends, all without your permission . I can't begin to tell you how many times I've seen this happen. Do you have a clear legal case in the matter if this happens to you? Yes, but far better to avoid such a publication in the first place, which brings me to this: NEVER submit to a publication that claims control of all work published in its pages.

If the publication appears to respect copyright law, it's next on the list to see what kinds of work is published. Now that doesn't mean "big names" are the only things published, but it should mean only high quality work appears on those pages. Are poems that are of the quality you'd like to attain published on those pages? If not, take a pass. You don't need to be affiliated with places that are in league with poetry.com . Better to wait til your work is good enough to be published in a high quality publication than to settle on substandard productions.

Next, it's important to see who is going to handle your work. Is this person a real editor? Does he/she have real, searchable, easily proven credentials as an editor? You'd be surprised at how many people attach labels to themselves without qualifications. "I have worked as an editor for 20 years", one woman said. I found out later she did the technical work on pamphlets advertising the circus in town. Not the kind of person you'd want handling your work, is it? How about the "I-am-an-English-teacher" or "I-have-an-English-degree" excuse? Totally inconsequential, since many great writers have neither English degrees nor teaching credentials (although some great writers have both.)  A good editor is more along the lines of a great communicator and a great listener, someone who knows what you mean to say better than you do, and they know the best and quickest way to get there.

Here are a few general guidelines, but remember, these are only guidelines because exceptions do occur.

It's generally a good idea to avoid publications that have "blogspot" in their URL. No kidding. I mean, come on, if an editor can't take the time to move an online publication to a real domain, they're  not going to take the time to put together a real publication.

It's also a good idea to avoid publications that don't follow their own publishing schedule. I'm not talking about an online site that is delayed by a little bit of time because of life circumstances beyond the editor's control (death in the family, illness, technical difficulties, etc.), but when someone leaves entire YEAR LONG GAPS (or more) between publications, that's a sign to avoid them.

Also beware of editors who publish mostly their own work. Are they running a publication to showcase great literary works, or are they looking to make a name for themselves on your art? These are usually the same editors who spend paragraphs singing their own praises, but don't highlight the authors they publish. A good editor takes the background, not the forefront.  This brings to mind an editor who sent me his credentials: he had won such-and-such poetry contest (he didn't know that I knew it was a beginner's contest and that only 10 people had entered). He also listed a book he wrote (self-published) and then went on to snootily proclaim how he'd only publish the BEST WORK then proceeded to publish some of his own first. Let me tell you, his work is by far not the BEST WORK I've seen. Another pseudo-editor told me about a prize she won (also for beginners), and all the self-made boards she sat on. These boards consisted of writers who want to be published, not tired-and-true editors.

Don't be fooled by glitzy appearances. Anyone can slap a pretty photograph on a bright background, but not everyone can assemble a high quality journal. Look for high quality work within pages attractively presented, not gloss and fizz.

So what kind of poetry publication credit would you rather have? A credit in a journal shoddily run, or credit in places like The New Yorker and The Cortland Review? Be patient, work at your craft, and keep trying. 

Should you self publish?

With the advent of publish-on-demand printing companies that make self-publishing accessible and somewhat affordable for the writer,  a lot of hopeful, prospective poets are self-publishing as never before. Should you?

Sure, some famous writers have self-published at one time or another and have success stories of which one can only dream, while some wind up with little sales and wasted time. In which category are you?

First, you have to know if your work is any good. By that, I don't mean you ought to go with what your Granny and old Aunt Faye tell you. They're family. They have to love you. Instead, it is wiser to  gauge one's skill by what objective, experienced writers and/or editors say. This is not meant to discourage anyone from self-publishing, but rather offer them guidelines so that writers have a clear-cut goal in mind when they show their work.

Here is a general good rule to go by: first get forty poems published in high quality publications, and then think about self-publishing. By high quality publications, I'm not referring to most online poetry publications. Yes, there are high quality online sites, but they are few and far between. Most are not worth the bandwidth they suck up, and it is very, very easy for just about anyone to get "published" in these sites, most of which are run by wannabe writers themselves. Instead, concentrate on getting work accepted in solid publications. I'll explore a little more about what constitutes a solid publication later in the week.

Once you have those forty published poems together, you can look into self-publishing a chapbook. Typically, however, by the time a poet gets forty solid publication credits, a publisher will approach YOU with a deal. If that doesn't happen, though, you have the option of getting a collection together yourself and going forward with a soft-cover, simple book, otherwise known as a chapbook. A chapbook is often inexpensively put together, and it's a new poet's way of introducing him/herself to readers and publishers alike.

There are reasons for sticking with the forty poem rule: One, if the book is too large, no one is going to read it. Only well known poets can sell a bigger, weightier tome, because readers will buy what they're familiar with and like. A new poet has no such clout. Also, a smaller book is more affordable for you, the poet and self-publisher, to put together. Don't forget, you have mailing costs, self-promotion costs, and a host of hidden expenses in this package. Best to go simply at first.

Secondly, readers will most likely remember at least ONE of these poems from the journals in which you've published. That means they're more likely to actually buy and read the book.

Thirdly, a tree is going to die for your book. It's best to make sure what's being printed on those pages are proven worthy of the effort. If these poems have been published before, they've passed a test of sorts.

To those who think they are the exception, let me tell you a little story. A blogger I once knew came to me for advice on self-publishing. She had the idea of putting together one chapbook because she had a lot of commenters who left gushing, complimentary responses on her blog. She also had the misfortune of having her poems rejected by every publisher who ever saw her work, but for a novice who temporarily ran a site that existed for a mere two issues. In other words, not a viable publishing credit.

Anyway, this writer borne by the remarks left on her blog, and promises from readers to buy anything she published, decided to shun my advice to be patient and work at her craft, and instead decided to publish not one, but TWO full-length books. The first book sold two copies - she bought one, and her mother the other. The second book sold only one. Her mother decided to opt out the second time around.

This writer was very discouraged and decided to give up writing altogether. Had she been patient, she might have learned to be a decent writer and been partway towards her goal of stacking up solid publishing credits. Instead, she has completely given up.

Goals worth attaining are goals worth working for. If it comes fast and easy, usually it's not worth having.

So next time, we'll explore what constitutes worthwhile publishing credits, and how to get them.

Announcing Magnapoets anthology series 1 and 2

 
Magnapoets Anthology Series 1 - One Hundred Droplets

A collection of Japanese form poetry celebrating and exploring spring and summer, with work by an'ya, Pamela A. Babusci, Dave Bacharach, Collin Barber, John Barlow, Dawn Bruce, Helen Buckingham, Andrea Cecon, Susan Constable, Ellen Compton, Magdalena Dale, Janet L. Davis, Melissa Dixon, Curtis Dunlap, Margarita Engle, Amelia Fielden, Denis M. Garrison, Sanford Goldstein, Andrea Grillo, Lee Gurga, Jim Kacian, Kirsty Karkow, M. Kei, Darrell Lindsey, J.Andrew Lockhart, Peggy Willis Lyles, Francis Masat, Michael McClintock, Allison Millcock, Vasile Moldovan, Christopher Patchel, Dru Phiippou, Patrick M. Pilarski, Patricia Prime, Michael Nickels-Wisdom, K. Ramesh, Charles Rossiter, Lidia Rozmus, Natalia L. Rudychev, Adelaide B. Shaw, Sandra Simpson, Andre Surridge, Barbara A. Taylor, Petar Tchouhov, Yoav J. Tenembaum, and articles by Jeanne Emrich and Robert D. Wilson.

Cover art  ©  Dick Bendele, all rights reserved. No unauthorized use or distribution.

Magnapoets Anthology Series 2 - While The Light Holds

A collection of Japanese form poetry celebrating and exploring autumn and winter, with work by an'ya, Pamela A. Babusci, Dave Bacharach, Collin Barber, John Barlow, Dawn Bruce, Helen Buckingham, Andrea Cecon, Ellen Compton, Susan Constable, Magdalena Dale, Janet L. Davis, Melissa Dixon, Curtis Dunlap, Margarita Engle, Amelia Fielden, Deborah Finkelstein, Denis M. Garrison, Sanford Goldstein, Andrea Grillo, Lee Gurga, Peggy Heinrich, J.D.Heskin, Jim Kacian, Kirsty Karkow, M. Kei, Darrell Lindsey, J. Andrew Lockhart, Peggy Willis Lyles, Francis Masat, Michael McClintock, Allison Millcock, Vasile Moldovan, Michael Nickels-Wisdom, Christopher Patchel, Dru Philippou, Patrick M. Pilarski, K. Ramesh, Chad Robinson, Lidia Rozmus, Natalia L. Rudychev, Adelaide B. Shaw, Sandra Simpson, Andre Surridge, Barbara A. Taylor, Petar Tchouhov, Yoav J. Tenembaum 

Cover photography © Maureen Faulk, all rights reserved. No unauthorized use or distribution.

How To Order: Price is $5.00 each + $1.00 S&H in North America, or $5.00 + $3.00 S&H on international orders.  Payment options are cash, check, or international money order, in US funds, made out to Aurora Antonovic,  13300 Tecumseh Road East, Suite 226, Tecumseh, Ontario, N8N 4R8, Canada.