Modern Poetry: Confusion

The Many Faces of Poetry 2

Modern poetry presents us with many problems. Like: the problem of understanding it. There are no rules to poetry, not any more, not for a century at least. I subscribe to some literary magazines on the internet. I get most of my poetry from The Rumpus and Across The Margin. These literary mags function as curators and critics. Who is there to tell us when something is good in poetry? Are there reviews of poetry? Sure there are! Does anyone read them? I do, out of curiosity. Just as I read poetry that’s being reviewed, out of curiosity and because they are appearing in magazines that I trust. Their very appearance is a critical acclaim. It’s in Rumpus, so it must be good. Etc.

allen gberg

It really gets down to taste and patience. Poetry is “OUT” in pop culture. It takes too long, requires too much commitment. I haven’t encountered a contemporary poet who inspires me to be a fan, to glue myself to his or her output with enthusiasm.

Other than myself. I’m a big fan of myself. A BIG fan.

When we were in high school we had Poetry Gods. We had e.e.cummings, Lawrence Ferlinghetti, T.S. Eliot, okay, yes, Allen Ginsberg. We had a Movement, we had the Beats and then Hippies. Am I out of touch? Let me know, will you?

Still, poetry thrives. It’s a bigger world, with more people, more poets.

Then there’s SLAM POETRY! The high culture equivalent of hip hop. I don’t know anything about SLAM POETRY except that it’s great fun, the audience is fully involved, the passions are up front, IT’S ALIVE IT’S ALIVE! Go to Youtube and search out Slam poetry and there you have it. The world of performance speech, it has no rules but one: tell a story, suck in the audience. If you don’t you will experience a gloomy traumatic humiliation that you’ll never want to repeat unless you combine the attributes of martyr with poet (not a bad combo, really) and you’re in it for the long haul, you’re there to perfect your art no matter what the price.

Youtube threw up a slam poet named Jesse Parent. The poem he spoke was called “To The Boys Who Will One Day Date My Daughter”. Then, boom! I was off on a delightful two hour marathon of enjoying slam poetry and the only reason it resolved at two hours was because my butt hurt from sitting so long in my malignant chair.

Guess what? The world has changed. I’m old enough to enjoy the backward/shrinking/reverse view of looking through the wrong end of a telescope. e.e. cummings? Allen Ginsberg? Are they hip-hoppers? What do they do?

“You’ve never heard ‘Howl’?”

“Is that a song?”

“No. Probably the most famous poem of modern times.”

“What? Like ‘Niggas In Paris’?”

“Niggas in…uhhhh, I don’t….”

“Daddy! Kanye and Jay-Z.”

I’m already confused. This began as an essay about poetry. “Well, Kanye’s pretty much destroyed himself, and Jay-Z, okay, I can handle Jay-Z, gotta give him some respect.”

“Listen, I’ll make a deal with you. I’ll listen to ‘Howl’ if you’ll listen to ‘Niggas in Paris.”

“Deal. But…let me warn you. Ginsberg wasn’t much of an orator…”

(Ginsberg reads: I saw the best minds of my generation destroyed by madness etc etc). He sounds as if he’s been drinking Robitussin for two weeks and just took a snort of cocaine to get through the reading. After listening to Jesse Parent for half an hour the desultory delivery of Ginsburg is pathetic. I listen to the words of the poem. I know it’s a classic. I like it. I’m ambivalent about it. It sounds old fashioned. But maybe that’s just poor Allen’s delivery.

Yes. The world has changed.

 

A Midwesterner by birth, Arthur Rosch migrated to the West Coast just in time to be a hippie but discovered that he was more connected to the Beatnik generation. He harkened back to an Old School world of jazz, poetry, painting and photography. In the Eighties he received Playboy Magazine’s Best Short Story Award for a comic view of a planet where there are six genders. The timing was not good.  His life was falling apart as he struggled with addiction and depression. He experienced the reality of the streets for more than a decade. Putting himself back together was the defining experience of his life. It wasn’t easy. It did, however, nurture his literary soul. He has a passion for astronomy, photography, history, psychology and the weird puzzle of human experience. He is currently a certified Seniors Peer Counselor in Sonoma County, California. Come visit his blogs and photo sites. www.artrosch.com and http://bit.ly/2uyxZbv


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Poetry And Word Play

The Many Faces of Poetry 2

 

May 29 2019

 

 

My poems are always stimulated by the first line. The line appears in my head. I know it’s a poem, so I write the rest of it, then and there. I make a few tweaks, and I’m finished. Poetry is not an elaborate process for me. It just happens. I would be interested to hear how other poets go about writing, how their experience may differ from mine.

I was reading through the book that I regard as my “Collected Works”. It consists of poems that I considered worthy of putting down on paper or computer. The earliest poem goes back to 1965 and is a verbal commentary on a passage of music by John Coltrane:

 

The beast of the cosmos staggers,

wounded by the weapon

of its own life.

 

You may find this piece to be incomprehensible. Yet there it is, surviving in my book for more than fifty years. A piece that I love for its vivid image of a wildly animate universe, suffering through the changes that nature brings, accepting that life and death are intertwined. Stars live and die, galaxies too, even whole universes must come and must go. Coltrane played a long screaming guttural tone, a note suffused with paradox, with agony and triumph, and it captured my imagination.  I kept returning to it, listening, and wondering, “Did I really hear that?”  I did.

Out of curiosity, and to locate more fuel for this essay, I just googled “Poetry +Word Play” and I got a poem by Marianne Moore, a much-honored poet who is often associated with T.S.Eliot and e.e.cummings. This poem says a lot, so take your time.

 

Poetry

I, too, dislike it: there are things that are important beyond
all this fiddle.
Reading it, however, with a perfect contempt for it, one
discovers that there is in
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a

high-sounding interpretation can be put upon them but because
they are
useful; when they become so derivative as to become
unintelligible, the
same thing may be said for all of us—that we
do not admire what
we cannot understand. The bat,
holding on upside down or in quest of something to

eat, elephants pushing, a wild horse taking a roll, a tireless
wolf under
a tree, the immovable critic twinkling his skin like a horse
that feels a flea, the base-
ball fan, the statistician—case after case
could be cited did
one wish it; nor is it valid
to discriminate against “business documents and

school-books”; all these phenomena are important. One must
make a distinction
however: when dragged into prominence by half poets,
the result is not poetry,
nor till the autocrats among us can be
“literalists of
the imagination”—above
insolence and triviality and can present

for inspection, imaginary gardens with real toads in them,
shall we have
it. In the meantime, if you demand on the one hand, in defiance
of their opinion—
the raw material of poetry in
all its rawness, and
that which is on the other hand,
genuine, then you are interested in poetry.

 

I regard this as a magnificent poem. The subject is Poetry, and the play with words is so subtle and precise that we barely perceive it in the flow of the piece. She gives us a recipe for what is required for a collection of words to be a poem. She closes with the final ingredient, “Imaginary gardens with real toads in them.” She equates being a poet with being a magician. I can’t argue with that. I should put this poem on a T-shirt.

Here are two poems that play with words, poems that emerged from me as always, virtually without thought.

 

Wholes

2003

 

There is no part of you

that is not a whole.

There is no hole in you

that is not part of you,

whole and alive.

There is no whole without holes,

no healing without wounds

no making without

unmaking

that which is a whole,

to begin again,

be born, again, whole.

What crying is this,

in the hole, in the hurt,

yearning to be whole?

Leave yourself alone,

quiet, make everything work

for you, everything,

the base and the noble,

the useless and the crucial,

whole is what is, resting in the center

of the hole.

 

Jonah

 

The moment is the whale

that swallowed Jonah

deep inside the body

where the juices reside.

The whale swallowed the moment

deep inside Jonah

deep inside.

Jonah swallowed the whale’s moment

inside the deeps

the deeps inside

the deep’s inside.

 

Thank you once again for your attention. Let’s put this essay in the “hmmm” pile and move forward.

 

A Midwesterner by birth, Arthur Rosch migrated to the West Coast just in time to be a hippie but discovered that he was more connected to the Beatnik generation. He harkened back to an Old School world of jazz, poetry, painting and photography. In the Eighties he received Playboy Magazine’s Best Short Story Award for a comic view of a planet where there are six genders. The timing was not good.  His life was falling apart as he struggled with addiction and depression. He experienced the reality of the streets for more than a decade. Putting himself back together was the defining experience of his life. It wasn’t easy. It did, however, nurture his literary soul. He has a passion for astronomy, photography, history, psychology and the weird puzzle of human experience. He is currently a certified Seniors Peer Counselor in Sonoma County, California. Come visit his blogs and photo sites. www.artrosch.com and http://bit.ly/2uyxZbv


Want to be sure not to miss any of Art’s The Many Faces of Poetry segments? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


The Confusing Faces Of Poetry

The Many Faces of Poetry 2

I struggle with such questions as “What is poetry?” Or “Why is poetry?” I don’t HAVE to struggle; it seems like a waste of energy, except that any honest inquiry into the nature of important things is…well, important. Yesterday I read three poems in a prestigious literary magazine. They were written by a prestigious lady who is a professor at a prestigious school. I’d better take these seriously, I thought. They have the imprimatur of critical acclaim. They’re supposed to be good.

I read the three poems several times. They are contemporary poetry. They have rhythm without rhyme. They are abstract. They are boring as hell. In order to run a quality check, to ensure that it wasn’t just me, quietly going insane, I referred to some poets that I love. I read some Lorca, and then Charles Bukowski. Okay, okay, it’s not just me. The latter poets wrote great poetry. I can sense THE PERSON inside these poems. I know who, where is Bukowsky, what he’s thinking. Lorca, even translated from Spanish, had poetry full of blood, I mean “Blaaahhhdd”, okay?

globes 2

Poetry has always been the bastard child of my prose work. It’s the long prose, the novels, that challenge me. Poetry’s easy. I write a poem, like that! boom, done. A few corrections the next day. Trim it a little. I can go years without writing a poem. This month I’ve struck a seam, I’m writing poems. My poetry is ME, it penetrates to the core of myself and exposes my sense of failure, confusion, ambivalence. Sometimes it’s mystic, it’s pure celebration of what I know is GOD but I don’t want to preach.

These  poems were written in the last ten days. I got pleasure in writing them, and more pleasure reading them. The second poem is among the best I have.  It’s one of “those”.

 

It Don’t Rub Off

More and more each day

my life looks like a stage set.

Props

my green rubber key chain,

the white bowl from which

I eat Cheerios .

More and more it looks less real;

it’s nothing like I wanted, not at all.

It’s more like a joke that’s on me, the opposite

of my desires. It waits to see

if I’ll laugh. I do; I laugh. It’s so silly, wanting,

but it can’t be helped. Wanting is like breathing

or waiting

while something giant hurtles towards me

too far away to sense

but it’s coming.

And I need it.

I’m in no hurry to see through things;

they control the pace.

Who I am

is not a mistake. I came here for an exercise

a knowledge that slips through my fingers.

One day my hand will close around it.

My car is banged up

my knees hurt.

I’m poor but never broke.

My broke friends know

that I’ll pay them for work on my car

or my house.

I carry some of their Stupid for a while.

It don’t rub off.

I always think I’m injured but I’m not:

except that life is injury, an obscure pathway

through a forest full of thrilling birds

and venomous snakes.

Is this real?

Yeah, I guess so.

For now.

 

Shit

There’s shit on my shoes;

cat shit, dog shit, I hope that’s all shit.

Every step I take I risk stepping in shit:

Is this not life? There’s nothing wrong with shit.

Like bugs, we need shit, desperately

to nourish with its stink the most unlikely growth.

This poo is for you, it says, as I wipe it off my shoe

foolishly trying to keep it from my hands, then washing

again and again. How often in a day do I inwardly exclaim,

“Shit!”? More than I would admit. My mind is full of bricks, pies and purges.

Cats, dogs, owls, horses, all shit. People shit,

the universe shits on these very shoes

which I try so hard to keep clean. Many are obsessed

with the microscopic haunt of e.coli. I don’t bother to say

“Relax, we intermix with e.coli and far worse

every day, we are sturdy,

knocking off shits right and left, undaunted

by the invisible spores of imagination”. Instead I give this benediction:

“You must be crazy in whatever way you want.”

Not every disease is preventable, nor is every affliction brought on board

by the shit on our shoes. Every time you stroke the cat, the dog, the horse

your hands investigate bacteria, resist infection.

After all, shit is the most common thing in the world.



A Midwesterner by birth, Arthur Rosch migrated to the West Coast just in time to be a hippie but discovered that he was more connected to the Beatnik generation. He hearkened back to an Old School world of jazz, poetry, painting and photography. In the Eighties he received Playboy Magazine’s Best Short Story Award for a comic view of a planet where there are six genders. The timing was not good.  His life was falling apart as he struggled with addiction and depression. He experienced the reality of the streets for more than a decade. Putting himself back together was the defining experience of his life. It wasn’t easy. It did, however, nurture his literary soul. He has a passion for astronomy, photography, history, psychology and the weird puzzle of human experience. He is currently a certified Seniors Peer Counselor in Sonoma County, California. Come visit his blogs and photo sites. www.artrosch.com and http://bit.ly/2uyxZbv


Want to be sure not to miss any of Art’s The Many Faces of Poetry segments? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress.


Poetry And The Feminine Principle

The Many Faces of Poetry 2

There seem to be fewer female poets than male poets but that’s probably a sexist phenomenon. There are fewer PUBLISHED, FAMOUS lady poets, that’s all. Doing a search there are names that come to the top of the list: Mary Oliver, Jane Hirschfield, Emily Dickinson, Elizabeth Barrett Browning. I like to contrast the moderns with the Victorians because they make a little study in how much the world has changed. In 1850, assuming you had spectacular talent, “making it” as a poet was a matter of family connections, money and social place. The Victorians valued depth in education. Dickinson and Browning were well read in Greek Classics (in the original Greek), Milton, Shakespeare, et al. Today, attaining prominence as a poet is a matter of marketing and luck. Podcasts, platforms and persistence. Talent trails behind.

mary-oliver-hires-cropped

Mary Oliver And Friend

Mary Oliver is regarded as the English speaking world’s most beloved poet. I always think of flying geese when Oliver is mentioned. There’s a reason for that. This was the first poem I heard by Mary Oliver: Wild Geese. It’s a good example of her accessibility. Oliver celebrated nature, including human nature. She had a great eye/ear for the natural world’s subtle beauties.

Wild Geese, by Mary Oliver

You do not have to be good.
You do not have to walk on your knees
For a hundred miles through the desert, repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about your despair, yours, and I will tell you mine.

Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting —
over and over announcing your place in the family of things.

emily-dickinson-hires-cropped

Emily Dickinson

Now let’s turn our attention to Emily Dickinson. She was such an interesting person that I feel saddened by the brevity with which I must treat her in this essay. She was the daughter of a prominent lawyer, politician and man of civic affairs. This was Edward Dickinson. He provided a liberal and wealthy environment in which Emily could do pretty much as she pleased. She obtained a first class education at Amherst Academy and Mt. Holyoke, and cultivated friendships with the likes of Walt Whitman and Ralph Waldo Emerson. Emily is famous for her reclusive ways. When she was finished with her education she retired into a world that consisted of her bedroom and the extensive family garden. She maintained vast correspondence with the best minds of the era. She also wrote nearly 1800 poems. A year after her death the first collection of her poems was published and became a huge hit. I find her poems cryptic and timeless. Many of them are just a few lines, and, to tell you the truth, I don’t really understand some of them. I plan to read them again, and perhaps yet again. It seems that she was writing for her own pleasure. There was no thought of an audience. In this way her poems attain a great purity.

I Like to see it lap the Miles, by Emily Dickenson
I like to see it lap the Miles,  
And lick the valleys up, 
And stop to feed itself at tanks;  
And then, prodigious, step  
Around a pile of mountains, 
And, supercilious, peer  
In shanties by the sides of roads;  
And then a quarry pare  
To fit its sides, and crawl between,  
Complaining all the while
In horrid, hooting stanza;  
Then chase itself down hill  
And neigh like Boanerges;  
Then, punctual as a star,  
Stop—docile and omnipotent—
At its own stable door.
Hirschfield

Jane Hirschfield

.

It’s important to know that Jane Hirschfield is a student of Zen Buddhism. She was ordained in 2011 at The San Francisco Zen Center. Hirschfield gets irritated, however, when people try to identify her poetry as “Zen” or anything else. It’s just poetry. Winner of so many awards it gets ridiculous, Jane Hirschfield is a kind of poetry goddess of our times. She’s 65 as of today. She may be around for yet a while. Her poetry has a kind of practicality. It deals with familiar things in unfamiliar ways. Her poems are full of dogs and horses, images of man’s interaction with nature. There are musings on the dilemma of living within one’s own mind. I find such questions easy to understand. I, too, am some kind of Buddhist.

 

Rebus, by Jane Hirschfield

 

You work with what you are given,
the red clay of grief,
the black clay of stubbornness going on after.
Clay that tastes of care or carelessness,
clay that smells of the bottoms of rivers or dust.

Each thought is a life you have lived or failed to live,
each word is a dish you have eaten or left on the table.
There are honeys so bitter
no one would willingly choose to take them.
The clay takes them: honey of weariness, honey of vanity,
honey of cruelty, fear.
This rebus – slip and stubbornness,
bottom of river, my own consumed life –
when will I learn to read it
plainly, slowly, uncolored by hope or desire?
Not to understand it, only to see.

As water given sugar sweetens, given salt grows salty,
we become our choices.
Each yes, each no continues,
this one a ladder, that one an anvil or cup.

The ladder leans into its darkness.
The anvil leans into its silence.
The cup sits empty.

How can I enter this question the clay has asked?

elizabeth-barrett-browning-9228932-1-402

Elizabeth Barrett Browning

Elizabeth Barrett Browning was born into an aristocratic English family and received a classical education. Getting such schooling was not a given for women of that age. Usually it depended on the father’s disposition. In Elizabeth’s case, dad was a poet and the family luxuriated in artistic pursuits. Elizabeth was educated alongside her younger brother. No feminist outrages here. The Barretts were extremely wealthy and lived within the intellectual mainstream of the Victorian era.

It all seemed so wonderful until I came to the tragic stories of the Barrett family.

Elizabeth’s brother drowned. Elizabeth came down with tuberculosis and had an accident that permanently damaged her spine. In its way this is typical of upper class Victorian suffering. They suffered extravagantly: people died young, children were scythed down by fevers, chronic brain afflictions abounded. Elizabeth spent the rest of her life on morphine, opium and other such medications. Still, she had the stubborn persistence of all artists and produced a huge body of work. This first poem, below, “How Do I Love Thee” is one of the most famous poems in the world. It is also called “Sonnet 13”. I follow it with “Sonnet 14”.

How do I love thee? or Sonnet 13, by Elizabeth Barrett Browning

How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of every day’s
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.

I love with a passion put to use
In my old griefs, and with my childhood’s faith.
I love thee with a love I seemed to lose
With my lost saints, — I love thee with the breath,
Smiles, tears, of all my life! — and, if God choose,
I shall but love thee better after death.

 

Sonnet 14, by Elizabeth Barrett Browning

 

If thou must love me, let it be for nought

Except for love’s sake only. Do not say
‘I love her for her smile—her look—her way
Of speaking gently,—for a trick of thought
That falls in well with mine, and certes brought
A sense of pleasant ease on such a day’—
For these things in themselves, Beloved, may
Be changed, or change for thee,—and love, so wrought,
May be unwrought so. Neither love me for
Thine own dear pity’s wiping my cheeks dry,—
A creature might forget to weep, who bore
Thy comfort long, and lose thy love thereby!
But love me for love’s sake, that evermore
Thou mayst love on, through love’s eternity.

 

Thus we have a painfully brief glimpse into the worlds of some famous lady poets. It’s a rich universe and I feel ridiculous popping these classics out on the page so casually. These women were/are great poets! Profoundly human, they deal with universal themes, the glorious quiz of life on earth. Is there a difference between the male and female poets? Are men better than women? Hell no. Somewhere there’s a planet with six genders, each with distinctive characteristics and functions. They quarrel endlessly about whether a frem is superior to a bloot and why forgles make the best musicians. It’s always the same stuff. Art. That useless but essential stuff: Art. P.S. I think the it’s the werkish who make the best Jerk n’ Jell paddle players.

 

A Midwesterner by birth, Arthur Rosch migrated to the West Coast just in time to be a hippie but discovered that he was more connected to the Beatnik generation. He harkened back to an Old School world of jazz, poetry, painting and photography. In the Eighties he received Playboy Magazine’s Best Short Story Award for a comic view of a planet where there are six genders. The timing was not good.  His life was falling apart as he struggled with addiction and depression. He experienced the reality of the streets for more than a decade. Putting himself back together was the defining experience of his life. It wasn’t easy. It did, however, nurture his literary soul. He has a passion for astronomy, photography, history, psychology and the weird puzzle of human experience. He is currently a certified Seniors Peer Counselor in Sonoma County, California. Come visit his blogs and photo sites. www.artrosch.com and http://bit.ly/2uyxZbv

 

Want to be sure not to miss any of Art’s The Many Faces of Poetry segments? Subscribe to Writing to be Read for e-mail notifications whenever new content is posted or follow WtbR on WordPress.

 


The Many Faces of Poetry: Two Important Poets

The Many Faces of Poetry

 

I did most of my poetry reading between the ages of sixteen and twenty one. I was in love with a girl who loved poetry. Otherwise, for the next several decades I neglected poetry. It was an occasional pleasure. Lately, however, I have been rediscovering poetry. If you want to read today’s poets head for the online magazine “Across The Margin” (acrossthemargin.com). ATM publishes living poets and prose writers. I am, fortunately, online buds with the editors Michael Fisher and Chris Thompson. As curators of such a venue, they are brilliant.   They bring together some of the best writers of our times. While I’m throwing out resources, I must also mention the uber-poetry web empire PoemHunters.com

As an adolescent I was drawn to the work of Federico Garcia Lorca and Rainer Maria Rilke. Their influence yet remains with me. They occupy special seats in the Poets’ Pantheon. Lorca, who was mired in the political confusion surrounding the Spanish Civil War, was assassinated in 1936. He is now a Spanish national treasure. Extensive searches for his grave have failed to find his remains. He was thirty eight when he drew his final breath.  No one knows who murdered him.  The Fascists blame the Communists and the communists blame the Fascists.  Hey, it was Spain in the thirties.

Here is one of his poems. As a Spaniard and member of what was called “The Generation Of ’27”, he was inspired and surrounded by surrealists.

in the sky there is nobody asleep. Nobody, nobody.
Nobody is asleep.
The creatures of the moon sniff and prowl about their cabins.
The living iguanas will come and bite the men who do not dream,
and the man who rushes out with his spirit broken will meet on the
street corner
the unbelievable alligator quiet beneath the tender protest of the
stars.

Nobody is asleep on earth. Nobody, nobody.
Nobody is asleep.
In a graveyard far off there is a corpse
who has moaned for three years
because of a dry countryside on his knee;
and that boy they buried this morning cried so much
it was necessary to call out the dogs to keep him quiet.

Life is not a dream. Careful! Careful! Careful!
We fall down the stairs in order to eat the moist earth
or we climb to the knife edge of the snow with the voices of the dead
dahlias.
But forgetfulness does not exist, dreams do not exist;
flesh exists. Kisses tie our mouths
in a thicket of new veins,
and whoever his pain pains will feel that pain forever
and whoever is afraid of death will carry it on his shoulders.

One day
the horses will live in the saloons
and the enraged ants
will throw themselves on the yellow skies that take refuge in the
eyes of cows.

Another day
we will watch the preserved butterflies rise from the dead
and still walking through a country of gray sponges and silent boats
we will watch our ring flash and roses spring from our tongue.
Careful! Be careful! Be careful!
The men who still have marks of the claw and the thunderstorm,
and that boy who cries because he has never heard of the invention
of the bridge,
or that dead man who possesses now only his head and a shoe,
we must carry them to the wall where the iguanas and the snakes
are waiting,
where the bear’s teeth are waiting,
where the mummified hand of the boy is waiting,
and the hair of the camel stands on end with a violent blue shudder.

Nobody is sleeping in the sky. Nobody, nobody.
Nobody is sleeping.
If someone does close his eyes,
a whip, boys, a whip!
Let there be a landscape of open eyes
and bitter wounds on fire.
No one is sleeping in this world. No one, no one.
I have said it before.

No one is sleeping.
But if someone grows too much moss on his temples during the
night,
open the stage trapdoors so he can see in the moonlight
the lying goblets, and the poison, and the skull of the theaters.

Rainer Maria Rilke was born into a middle class family in 1875. The family was highly dysfunctional, as are the families of 99 percent of every artist in Earth’s history. Rilke had the good sense to hang out with the most illustrious artists of any age. He was, for a while, Auguste Rodin’s secretary. He lived the life of a poet during the height of the Romantic era. His life was no piece of cake. He was drafted into the Austro/Hungarian Army at the outbreak of World War One. It took two years for his influential friends to free him from possible slaughter in the trenches. He did, however, have such friends. He wrote in a variety of media, including some four hundred poems.

This is Rilke.

At The Brink Of Night

My room and this distance,
awake upon the darkening land,
are one. I am a string
stretched across deep
surging resonance.

Things are violin bodies
full of murmuring darkness,
where women’s weeping dreams,
where the rancor of whole generations
stirs in its sleep . . .
I should release
my silver vibrations: then
everything below me will live,
and whatever strays into things
will seek the light
that falls without end from my dancing tone
into the old abysses
around which heaven swells
through narrow
imploring
rifts.

A Midwesterner by birth, Arthur Rosch migrated to the West Coast just in time to be a hippie but discovered that he was more connected to the Beatnik generation. He harkened back to an Old School world of jazz, poetry, painting and photography. In the Eighties he received Playboy Magazine’s Best Short Story Award for a comic view of a planet where there are six genders. The timing was not good.  His life was falling apart as he struggled with addiction and depression. He experienced the reality of the streets for more than a decade. Putting himself back together was the defining experience of his life. It wasn’t easy. It did, however, nurture his literary soul. He has a passion for astronomy, photography, history, psychology and the weird puzzle of human experience. He is currently a certified Seniors Peer Counselor in Sonoma County, California. Come visit his blogs and photo sites. www.artrosch.com and http://bit.ly/2uyxZbv

 

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Final Segment: Follow-up Questions

Ask the Authors (Round 2)

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Well, we’ve come to the final segment of Ask the Authors (Round 2) and it’s time to wrap things up. Today, our author panel will delve further into many of the topics from the previous segments. I’m pleased to have participation from almost all of our original panel members for this final segment. Included are authors DeAnna Knippling, Jordan Elizabeth, Tom Johnson, Dan Alatorre, Cynthia Vespia, Margareth Stewart, RA Winter, Lilly Rayman, Art Rosch, Amy Cecil and Mark Shaw. We didn’t get any reader questions this round, so the questions here are all mine. And with that said, here we go.

Building in Conflict

For the most part, we like our characters. Of course we do. We created them, they are our children. We even create villains that we love to hate, but there’s always a very story must have conflict. Conflict makes the story interesting. We’ve talked about creating characters readers can relate to and this is where we use that to our advantage. There has to be something at stake in order for readers to want to know what happens next. If there is no possibility of something bad happening and we know it will all turn out okay, then there really is no point in finishing the story. So, even though we love our characters, at times we need bad things to happen to them.

How do you feel about killing off your darlings? What other ways do you find to add conflict to the story?

DeAnna Knippling

deannak I sometimes feel embarrassed about how much crap I lay on my characters, but oh well 🙂

I think every scene should end up worse for the character in some substantial way than the one before.  It depends on the book, of course, but even a slow idyll should end with some level of train wreck by the end of the scene, even if the bad thing that happens is just a false sense of security setting up the characters to get hurt worse later.  I have four methods (so far):  1) the character tries to do something but fails.  2) the character tries, succeeds, and makes things worse.  3) the character’s efforts are interrupted by some other thing going wrong.  4) the character tries something…but you don’t get to find out how it comes out yet.

I write a fair amount of horror; one of my favorite techniques there is that a character tries to find out something, does, and totally regrets having left behind their blissful ignorance!

Jordan Elizabeth

Jordan If I kill someone off, I usually bring them back as a ghost, haha.  Seriously, though, I don’t always use death as a way to build conflict.  I like to add emotional drama through something devastating, like a shattered dream, or by throwing the character into an unexpected situation.  Adding a new, but related, bad guy helps too.

Tom Johnson

Tom's Back Cover Picture In Carnival of Death, the villain, Spider is back in town. She is a master of martial arts, but she had fought the Black Ghost in The Spider’s Web, and found him a superior fighter. This time she has help dealing with him while she goes after one of his aides, a Korean girl. Spider plans on beating the information out of the girl, but the Korean is a fighter and now one must die. The Korean has never had to kill before, while Spider has killed many with her martial arts. Will the young Korean be able to defeat this ninja in a battle to the death?

In the Spider’s Web, the Ninja had selected another aide, newspaperman George Freeman, an ex Army Ranger, tough and fearless, but she was beating him and was at the point of killing him when the Black Ghost arrived to challenge her. This time the Black Ghost was in a fight of his own, and could not reach his aide in time. The Korean girl is his electronic eyes and ears, not an active field agent, and must face this challenge alone.

Dan Alatorre

Alatorre If the story needs for my character to die, sorry! Boom, gone. It’s that simple. What’s best for the story? Do that, no matter how painful.

But conflict can be done in lots of ways before we get to that. Just put little obstacles in the way of your character – any character – and his or her goal. We need to track a serial killer? Let’s use one of our detectives as bait. Then make him nervous because a few years back, his partner died in front of him, and instead of thinking about catching the killer, he’s thinking about when his partner died, while he’s supposed to be bait for THIS killer. Then a man approaches that he’s sure is the killer and he’s all nervous and ready to spring into action – and it’s a false alarm. Which nearly causes him to blow the sting. Which causes him to get yelled at. Now his new partner is nervous about working with him… ALL of which was added JUST to add conflict. There are lots of ways to increase conflict.

Cynthia Vespia

colorheadshot - Copy If it’s necessary to the story I have no problem with it. But too many authors are trying to emulate George RR Martin and killing just to kill. First, build your character then, if there’s just cause, you kill them off to move the story.

What other ways do you find to add conflict to the story?

Depends on the story, depends on the characters. There’s alot of variables that go into answering that question. For instance, in my latest novel Karma I didn’t kill anyone, but there was a horrible accident that put someone in jeopardy.

Margareth Stewart

Margareth Stewart I don´t mind, my stories are full of conflict, and I write not to praise the anyone. Characters must do what they must do and feel what they feel, I follow that all the way through the path of writing the whole ploth, it does not matter if I like it, dislike or disagree with it. It is not the role of the writer to judge their characters. Full stop.

Lilly Rayman

L Rayman In my Unexpected series, the first book begins with the fact that my main character’s mother, and her half-brother’s mother were both deceased. This was a situation that was already developed, so I never gave much to either of these women, who in fairness, had been defining influences on my main character and her brother during their childhood. I then made a choice, to write a prequel, a story that investigated both these women and their influences on my main characters father and his children. I found it very hard to write the demise of both these women, since I had connected to them as I looked into them during their life. Unfortunately, it was always their fate to end up dead, and there was little that I could do about it.

Amy Cecil

Amy Cecil I really don’t mind killing off a character. I worry more about the reaction I’ll get from my readers. I always have an antagonist and they work to supply conflict


Action Scenes

In segment six, we talked briefly about how to write an action scene clearly and keep action moving smoothly, especially when there’s a lot going on in the scene in the discussion on action scenes and pacing.

Can any you elaborate on how you keep the action flowing smoothly in a fight scene, specifically?

DeAnna Knippling

deannak I break everything, both action scenes and otherwise, into beats.  In theater terms, a “beat” kind of translates down to the smallest possible conflict. (In a scene, there can be many different conflicts as the characters try different tactics to reach a goal.)  A beat is one clear step in attempting to achieve some goal.  Say a character is attempting to convince another character to sign up for a yoga class.  The character might try:
–Asking directly.
–Telling the other character they’re out of shape.
–Promising they’ll go with the other character.
–Lying to the character and saying they’re going to go shopping.
Each attempt during the conversation would be a beat.
Same thing goes for fight scenes.  The second character might realize that the first character tricked them into going to a yoga studio.  A battle begins!  The second character wants to escape the yoga studio.  They might:
–Point toward the hallway, saying “Look! Baby wolf!” while making a break for the door.
–Wrestling with the yoga teacher, who is blocking the door.
–Abruptly turning and trying to run toward the hallway.
–Rolling to their feet after being tripped by the first character.
Jordan Elizabeth
Jordan I picture what’s going on in my head and sometime sketch it out.  I like to keep my sentences crisp and short.  It keeps the pace moving and makes the action punchier.

Tom Johnson

Tom's Back Cover Picture Professional fighters learn to read their opponent’s strengths and weakness. Their full attention is on the moves, their minds evaluating, their eyes fully engaged on the person in front of them. Each is studying the other for a sign of weakness. Moves are like reflex action, lightning fast, with follow through automatic. There is no time to think about your next move, it has to come with mind-body coordination. And for this to happen they need to train and train until those reflexes are faster than their thought processes. The boxing tournament in my novel, Cold War Heroes has a number of good fight scenes.

Dan Alatorre

Alatorre I hope so; I wrote a whole book called A Is For Action, to describe just that. Envision it, and lay it out in big chunks, then address each chunk for what it’s supposed to do. Then cut each chunk into littler chunks and address what they are supposed to do. Little by little it’ll come together, but it takes a lot more explanation than I can do here – which is why I needed a while book to explain it, but it’s inexpensive and will show you everything you need, common rookie mistakes like run-on sentences, and all the rest.

Cynthia Vespia

colorheadshot - Copy Pacing, short sentence structure, mapping out the fight like you would any other scene, being aware of the POV you’re using, the setting, the weapons involved. I often block out the fight the same way a choreographer does for a movie.

Art Rosch

Art 2001 Samurai movies. I have immersed myself in Samurai movies for decades and that immersion has influenced everything I’ve written about combat and battle sequences. It doesn’t hurt to know martial arts. I don’t know anything about martial arts beyond the basics. In my fantasy novel, The Gods Of The Gift there is an extended combat sequence that encompasses every combination of fighting, from single to double to mutliple and then to mass formation fighting. I was inspired by a fight scene in the Samurai Trilogy (made in the 50s, see it!). A swordsman squares off against a master of a weapon called the Kusarigama. This device consists of a razor sharp sickle mounted on a staff. There is attached to the staff a heavy spiked ball attached to a twelve foot length of chain. The ball and chain are swung in overhead circles and used to trap an arm, a leg, a sword, thus allowing the weapon’s user to charge in and finish his opponent with the sickle. Nasty! Fascinating!

The Japanese and Chinese have arsenals of bizarre weapons. A bit of research into the Google archives will inspire some good ideas.

Then there’s the sensory impact of combat itself. Writing a fight scene involves all the senses. Feet moving, the sound of gravel spraying, the whine of metal on metal, the sweat and heightened perceptions of the fighters. Adrenaline. Terror and triumph. A good fight is seldom resolved in a single blow. In REALITY this often happens, but in fiction we need to have our heroes staring into the abyss of defeat, almost losing the fight, almost dying, then calling upon some last bit of strength to find a way to survive.

I read some accounts of medieval battles, taken from contemporary sources.  The descriptions of thousands of men charging and clashing have much in common.  I adapted that perception to describe a battle between large forces colliding in The Gods Of The Gift.  Here it is:

“The two masses of people came together with a groan of animal rage. There was a sound like the wrinkling of a giant metal plate. Garuvel was only aware of pushing and being pushed. His shoulder was dug into someone’s brittle shield, someone who was pushing at him as mightily as he pushed back. All around him, this pushing of two giant forces wavered this way and that, the front of the two masses of people snaked, bent, briefly ruptured, re-formed, pushed again. Garuvel could feel himself gaining ground as he pushed at the shield. His feet were digging trenches in the soil; soft wet earth oozed up around his ankles. He was able to take a single step forward and his opponent’s shield broke in two.  The face of a startled snarling Djoubiat appeared before him, and Garuvel used two fingers of his left hand to poke his enemy’s eyes out. He grabbed the man’s sword as it began to float away on the waves of the crowd. He tossed it to Jaramine, then got another sword for himself. Back to back, they let themselves be swept into the berserk trance of combat”.

I hope this helps. I’m barely on my first cup of coffee. I recommend that you locate The Samurai Trilogy directed by Hiroshi Inagaki and starring Tohiro Mifune. Great films.  Then, of course, there are the Kurosawa/Mifune collaborations. Enjoy!

Amy Cecil

Amy Cecil When I’m writing a fight scene I usually close my eyes and picture the scene then type what I see with every detail. Once the scene is complete then I go back and polish it up



Editing and Revision

In the week seven segment on editing, DeAnna Knippling talked a little about the editing process from the editor’s side. Her comment was that you have to like the type of book you’re editing, so you can be a champion for the story. And like Dan Alatorre pointed out, our stories may not be for everyone and not everyone will like them. As long as some people do like our stories, that may be all that matters as far as building a platform and following, but when it comes to editors, you have to be sure they get our work and like our writing styles. So, my follow-up questions are:

What do you look for in an editor? How do you know when you find an editor who’s a good fit for you?

DeAnna Knippling

deannak I tend to find editors online, so I tend to ask questions that are in line with the book I’m writing. If the editor can respond in the same tone, that’s a good sign. “Do you solemnly swear not to try to change the rash behavior of my Y.A. fantasy characters?” That kind of thing.

Jordan Elizabeth

Jordan I look for an editor with experience, and one who isn’t afraid to say what they like and don’t like.  Some editors will read anything for the money, but not do a good job because it isn’t a genre he/she is passionate about.  I like the editors who tear my work apart while understanding the vision behind it.

Tom Johnson

Tom's Back Cover Picture This is not always up to the author. When dealing with publishers you have to deal with their editors. When I was writing for NBI my publisher was a pulp fan, and knew what I was writing, so we hit it off great. Other publishers were not so cooperate. A number of them were romance and erotica editors, and were not fans of my writing style. They wanted sex and profanity, and I refused to give it to them. In one scene my hero and a bad guy are fighting in a room high above the street when they crash through a window and are about to fall, and my hero says, “Oh, hell!” My editor wanted something stronger, but I refused. Of course, my hero catches the window frame and doesn’t fall, but we argued about what he should have said, or not said. As the author, I thought I had the final say and that didn’t please the editor one bit. I also had an editor that automatically did a search and destroy for all “ly”s in the story and deleted them. That created more problems than it solved. When you find a good editor, keep them. There are some out there that won’t listen to you, the author.

Dan Alatorre

Alatorre A good editor can edit anything, like it or not; I do it all the time. But it’s better if they like it. I mean, commas don’t appear or disappear based on if I like the story, but content will be handled differently. What do I look for? Someone who gets it. Gets the story, gets the jokes, gets what I’m going for. Someone who writes or has written, because a bad story with all the commas in the right places is still a bad story. A great story makes its own rules. I love it when an editor or beta reader is so engrossed in my story they forget to edit it. When the fit is right, you know it because they get the jokes BUT they are willing to chuck it all to help the story be the best it can be. We call it the Hemingway standard. They hold me to the highest standard possible and catch every microscopic issue, and I do the same for them. We might not get to Hemingway but by God we’re gonna try.

Cynthia Vespia

colorheadshot - Copy At this point if I were to look for an editor I’d do my research on what they’ve edited in the past and get some recs from other authors.

RA Winter

RA Winter I was lucky enough to meet my editor, Karen Freeman, on Scribophile.com. She crit my story, then read everything I’ve written and had a lot of great insight. She knows my style and understands my prose.  I love an editor who does a full developmental edit, proofreading, grammar, and character development. Usually, she reads the first draft then waits until my edits and other crits are done before she comes back and rereads everything. As an editor, Karen Freeman goes above and beyond for me. I’m so glad that I have her!

Lilly Rayman

L Rayman I look for an editor who is easy to work with, answers my questions on why they made editing decisions. At the same time, I like an editor who is prepared to ask me why I made the decision to write a sentence or a scene the way I did.

Amy Cecil

Amy Cecil I want (and have) an editor that will make me a better writer. Someone who will make me step out of my comfort zone and make me write more. Over the years I’ve learned so much from my two editors. They are awesome.


Publishing Platforms

Today, authors can create their own publishing house, putting out their work under their own imprint. I’ve been told that this is a relatively easy thing to do. Some of our panel members have done just that, so let’s ask them.

Can you share with us a little about what the process of creating your own imprint entails?

 DeAnna Knippling

deannak
–Deciding to do one.
–Coming up with a business name that nobody else is using.
–Researching what laws are applicable for your state on the secretary of state website for your state (usually).
–Doing that (usually just registering the name).
–Rah!

Tom Johnson

Tom's Back Cover Picture We created the FADING SHADOWS imprint in 1982, and published a hobby magazine until 2004, as well as genre magazines from 1995 to 2004. We did all the proofing, editing, setting up and printing for most of those years. Today, we still use the FADING SHADOWS imprint on my self-published books. However, we no longer do the printing. Thankfully, with POD technology anyone can be a publisher today, you just need the know-how of modern technology. In 1982 we were young and energetic. In 2019, we’re not so young and energetic, so can’t do it all like we once did. My wife is a good editor for my books. She catches the errors I miss. But she also knows that I write in the pulp style, 60 years in the past.

Dan Alatorre

Alatorre Liken it to a winemaker. Are you going to grow your own grapes and make and sell the wine? Then if you are a bad farmer, you’ll get crappy wine, so you have to be an expert farmer AND expert wine maker AND expert marketer… most people aren’t experts at all that stuff and aren’t willing to become experts; many won’t be able to even if they knew what to do. There are a lot of moving parts. Essentially, if you mess up on any of those steps, you are toast. Now, having said that, even if you don’t manage to become an expert at everything, you’ll know enough to manage the people you hire and you’ll have respect for what they do.

What are the advantages of having your own imprint? Would you recommend authors do this?

DeAnna Knippling

deannak I have multiple pen names, so I do it to keep things organized. If you didn’t have a pen name, and you didn’t plan to ever edit an anthology or something, then I can’t see a lot of material benefit. But as soon as you have multiple names involved, then I’d say you should go for it. It’s hard to claim that your writing business is “DeAnna Knippling, Author” for tax purposes if you’re in either case. BUT I am not a lawyer, so don’t take that as legal advice 🙂

Tom Johnson

Tom's Back Cover Picture Yes, a lot of authors are using their own imprints today. And some have good editors.

Dan Alatorre

Alatorre The advantage is, if there’s no market for an original work, it can still see the light of day and maybe find its audience.

Authors, especially those who chose the more traditional routes of publishing, have to be thick skinned. If we take them all personally, they can be devastating, perhaps even deterring an author from continuing the pursuit of their dream.

For those who have tried to publish traditionally or via small press, where your work must be submitted in hopes that someone else will deem it publishable, and how many rejections did you receive before acceptance? And how did you handle the rejections?

DeAnna Knippling

deannak I’m still submitting to short story markets.  I submit all over the place for that. I think I submitted like fifty queries for novels, but I really wasn’t ready for novels back when I was doing that (I started out as a short story writer). When I started out, it got to me.  Then I heard Julie Kazimer talk about how many rejections she had, and I was like, “Right, I like her writing, and she still gets that many rejections, so whatever.” I made a goal to get 100 rejections my first year of serious submissions.  Got 125 🙂  I don’t track the number anymore, though.

Jordan Elizabeth

Jordan I received well over one-hundred rejections on COGLING, and now it is my second best-seller. Readers send me emails raving about it. At first, rejection hit hard. I wanted to curl up in the corner and cry. It took a while for rejections to roll off my back. As long as I love what I wrote, then that’s all that matters.

Tom Johnson

Tom's Back Cover Picture My first novel was submitted in 1970 to a dozen SF publishers, and I received a dozen rejection slips. One famous SF editor said he didn’t even know where the story took place. Well, he must not have even read it (LOL). But to be honest, I needed an editor. In fact, I also sent the story to what I thought was a publisher, but was an editing service. I was living in Riverside, California at the time, and two men came down from L.A., California to interview me. My book, they said, was something special, but they wanted to help me learn to write, and gave me several options, all of which would cost me money that I didn’t have. So I stuck the manuscript in a drawer where it stayed for three decades. In those thirty years I learned to write.

I have fulfilled my dream. Yeah, I read a lot, and see what the traditional authors are writing. Sometimes it’s disheartening to see what is being hailed as the best books on the market, and the size checks they are getting for what I consider junk, and seeing good independent writers having trouble selling copies of their books that are ten times better than those best sellers.

But I think about the writers-for-hire that turned out stories for publishers selling a million copies of each title, and the author only getting $1,500.00 for that book back then. When Stephen King was paid a million dollars for Carry, one of those writers-for-hire took a .45 and blew a hole through his computer. The writer-for-hire was bringing big bucks to the publisher for very low wages, and the publisher was paying King, McMurty, Clancy, and a few others the big bucks. The writers-for-hire didn’t think it was fair, and I still don’t think it is. I like martial arts, and I heard about a “best selling” series called The Ninja that has been receiving such great praise and a New York Best Seller, so I bought it. After fifty pages I threw it in the trash where it belonged.

Dan Alatorre

Alatorre The movie Rocky won best picture back in 1976. It got turned down a LOT, but Stallone stuck with it and it won best picture. The lesson isn’t tenacity, although that’s part of it. The lesson is, the people in charge often don’t know what’s good. Tom Brady, possibly the best quarterback in the NFL’s history, was a 7th round draft pick. That means EVERY TEAM passed him over 6 times – and he’s the best to ever play the game. Steven Spielberg, the most popular and most successful movie maker in history was turned down by USC film school. The people in charge often don’t know what’s good. Lots of people turned down every successful author at some point, and rejection letters are going to come by the hundreds. Each “no” puts you closer to a “yes,” so expect 200 of them for each version of your book you are querying. If the publishers don’t want it, don’t be afraid to go indie.

Art Rosch

Art 2001 In business there’s an expression. It goes like this: If the product is good, it will sell. Of course, I’m crap at business. In 1980 I had a writing career in the palm of my hand.  I was a guest of honor at Playboy‘s Writer’s Award banquet. I sat between Alex Haley and Saul Bellow. My short story had won Playboy‘s annual award and I was whisked to New York City to hobnob with the literati. Agents and publishers were handing me their cards. I signed a two year contract with Scott Meredith Agency. I just had one little problem. My writing hadn’t yet matured. My books were earlier versions of themselves and I hadn’t mastered the finer points of story telling.  I had another twenty years to grow up and become a polished writer.

Now we, as writers, are struggling through an era in which books are common as pennies and it’s virtually impossible to gain traction. In 1980 the world’s population was half of today’s population. There was room to get noticed. Now, today, go to Twitter, Facebook. Drown in titles, covers, blurbs. Not all of these books are good. I’ve written six hundred query letters to agents. The reply? “Though you write very well, unfortunately your novel is not right for us at this time.”

Sound familiar?

I don’t quit. I believe in my work. I believe in it so much that I can easily describe it as something like being in love. I’m in love with the things I write, and photograph, and music that I play. And so forth and so on.

Amy Cecil

Amy Cecil Only did this with my first book and only sent to three publishers. All three were rejected. That’s when I learned I could self publish.

During week 8 on publishing platforms, RA Winter gave the following advice for new authors, “Series make more money or at least have all of your books branded in the same genre.”

This sounds like good advice, but what does the multi-genre author do as far as branding goes? Do we have a separate brand for each genre, or can a single brand for your works encompass all the genres that you write?

DeAnna Knippling

deannak I write under different genres, so I can’t really use the same marketing/branding for each genre.  What works for gothic horror novels doesn’t do so well for cyberpunk.  I feel like I have to start over every time–but that’s okay.  I’m happy with my choices from a writing perspective.  It’s just a pain to deal with from a marketing perspective.

Jordan Elizabeth

Jordan I use the same brand for each of my books.  It works for steampunk because it is a gear, and it works for my fantasy novels because gears turning can symbolize the imagination working.

Tom Johnson

Tom's Back Cover Picture Well, I have to admit, my SF novels have done well, but so, too, have my pulp novels. I like writing in different genres. Westerns sell good, and I have a few in that category also. When I go to town people say, “Oh, he’s that science fiction writer.” That’s nice, but SF doesn’t sell in this town, and a science fiction writer is about as popular as sidewinder. I even told a teacher once that science fiction was a western. You just trade the cowboy’s six-shooter for a ray gun, his horse for a rocket ship, and Indians for red Martians. And some people here know I collect and write pulp, but they don’t know what pulp is. I was at the Post Office one day and a fellow was mailing a big package out. He recognized me and said, “I bet if you thought this box contained comic books you’d take it away from me.” Brand? I don’t know how good a Brand is. Me, I want to write whatever genre grabs me at the time. I’m tickled when someone calls me a children’s author.

Dan Alatorre

Alatorre Lots of authors don’t do that and are very successful, but I suppose it makes life easier if you do it. The problem is, you might have a crappy series no one wants to read. Then what? You wasted years on a dead end. I write what I want to read. I write in a daring style. I can make you laugh or cry in every story, sometimes on the same page. When you start my story, I own you, and it doesn’t matter whether it’s a series or if each book is different. John Belushi never repeated himself; why should I? Genius has a way of being discovered of you are willing to put enough work into it. There are no shortcuts and no magic recipes.

There’s no one magic formula. Train your readers that whatever you deliver, it will rock their world. Books and movies are entertainment. The best directors don’t do the same movie over and over in a series because they want to challenge themselves to find another great thing and to keep pushing themselves.

Cynthia Vespia

colorheadshot - Copy My work can, and has, fallen under different genres. I find it gets confusing to the reader especially in terms of branding and finding your niche audience. So now I try to incorporate a little bit of fantasy in every book I write be it urban, dark, or adventure so that my books stay under a similar umbrella.

Amy Cecil

Amy Cecil Still working on this.

If you have published independently, what challenges have you faced – in getting your books into brick and mortar bookstores, and libraries?

DeAnna Knippling

deannak Nobody likes or wants to work with Amazon/CreateSpace. That’s my biggest challenge in one. I need to expand away from them, but I haven’t reached that far yet.

Tom Johnson

Tom's Back Cover Picture I’ve personally donated my books to the surrounding libraries, and some of my books have been on the shelves of Books A Million and Hastings in Wichita Falls, Texas, but that was in the past. I doubt seriously that any are still in the brick & mortar bookstores.

Dan Alatorre

Alatorre Doing any of that requires time and effort. That same effort can get me more sales of eBooks, so I concentrate there. 90% of my marketing time or more is marketing eBooks. If I have time leftover, I’ll see if a library wants a copy or if a brick and mortar bookstore does. I went to an author event where the bookstore manager at the event derided me about bringing so many of my 25 titles. I sold a whopping 6 books that weekend with her. As I was packing up, she kinda laughed at the effort I made in bringing in 25 titles and only selling 6. I mentioned that I’d moved over 1000 eBooks that week. She shut up after that.

Cynthia Vespia

colorheadshot - Copy They absolutely will not accept POD versions of your book.

Amy Cecil

Amy Cecil Marketing is my biggest challenge.


Building Your Author Platform

Have you ever used paid reviews?

DeAnna Knippling

deannak Nope. I don’t feel like it’s ethical, by which I mean “long-term smart.”

Jordan Elizabeth

Jordan I used one company once.  It cost a lot of money and promised at least 10 reviews.  I got 1.  After that, I never paid for another review company.

Tom Johnson

Tom's Back Cover Picture No, but I have thought about it. Reviews are hard to get.

Dan Alatorre

Alatorre No. I know some people say Kirkus and others like them are great; I don’t see the value. When I see a Kirkus review, I say: that person isn’t successful enough to get reviews without paying for them. I could be totally wrong about that, but that’s what I think. Spend that $500 or whatever on marketing and getting reviews from readers.

Cynthia Vespia

colorheadshot - Copy No, there’s no point in it for me. I’d rather here what readers genuinely think rather than someone I paid off to give a glowing review. Besides, I’ve talked to a number of other authors and they’ve all said the amount of reviews you have really doesn’t mean that much in the long run.

Lilly Rayman

L Rayman No. One I don’t believe you receive a genuine review if you pay for it.

Two. I believe they are unethical.

Three. I can’t afford to pay people to review my work.

Art Rosch

Art 2001 I probably have more fans than I realize. Unfortunately, I get very little feedback. A comment on one of my blogs, an appreciation of a book, a review…any kind of review…is a major event. I don’t pay for reviews. There are so many authors, so many reviews, it’s like spitting into a fast moving river. It’s here, then gone.

My novel, Confessions Of An Honest Man won Writer’s Digest Honorable Mention. There were almost four thousand submissions. WD wrote a glowing review of the book.  Without that review I’m not sure I would even believe the book exists. Without Kaye Lynn’s reviews of my work, I would feel like a ghost. I’ve sold less than a three hundred books. I can’t even give away my books. My memoir, The Road Has Eyes has eleven hundred free downloads. That’s four years worth of promotion. Am I disappointed? Yes. Am I surprised? A little.

In your mind, what are the pros and cons of paid reviews?

DeAnna Knippling

deannak A) They’re not really honest.  B) They’re trackable, so your distributor may bust you for them and punish you according to their terms of service. Goodbye review! And that’s generally a best-case scenario.

Jordan Elizabeth

Jordan The biggest con is what happened to me – no one reviews and you just wasted a lot of money.  I think the service I used cost $60.  $60 for one review (a one-sentence review at that) didn’t feel worth it.  I didn’t even know if the reviewer genuinely liked the book or felt compelled to give it 4 stars.

Tom Johnson

Tom's Back Cover Picture Paid reviews are probably not going to appear on Amazon or GoodReads, or anywhere else. If they weren’t bought on Amazon, the review won’t be published on Amazon.

Dan Alatorre

Alatorre I guess the pros are you get a review. The cons are, that’s less money you have for marketing.

Amy Cecil

Amy Cecil No author should have to pay for a review.

How effective have you found interviews to be in bringing new followers?

DeAnna Knippling

deannak I think the effectiveness of an interview depends on how open the author is willing to be.  If the author personally appeals to the audience, then an interview can be great.  But if the author is stiff and over-controlled, then people aren’t going to get a very good idea about whether they want to read your book.  I’ve both interviewed and been interviewed.  The interesting thing to me is that that type of post is more of a long-term investment than a short-term boost.  It’s like, people kind of hear about your book somehow, then they look up your name and the book title, and they end up searching for you on Google years after the book is published.

Jordan Elizabeth

Jordan Honestly, I haven’t seen a correlation.  No one has told me they read my book or started following me after reading an interview I did.

Dan Alatorre

Alatorre I don’t think any one thing does a lot by itself, but doing a lot of interviews and a lot of other stuff gets the internet to find you better, and together it all helps. Basically, I do almost every interview I’m asked to do because I can use it on my social media to remind my followers that I’m out there and they should read my next book. That’s not the interviewer’s job. That’s my job in doing the interview.

Cynthia Vespia
colorheadshot - Copy Interviews have given me exposure to new people…not alot…but enough. Also, they’re fun to do.

Amy Cecil

Amy Cecil Not effective at all.

Has there been one interview you feel was most effective? If so, why do you think this interview was more effective than others?

DeAnna Knippling

deannak Unfortunately, I don’t know for sure! I feel like an audio interview with Bill Olver (of Big Pulp at the time) was the most effective, because I saw an upswing right after that, but I have no actual idea.

Here’s the interview:  http://www.podcasts.com/big-pulp-audio-435ce9688/episode/Big-Pulp-Audio-May-22-2016-31da

Jordan Elizabeth

Jordan Interviews where I include a giveaway usually get the most comments.

Dan Alatorre

Alatorre I had a great interview with Cathleen Townsend. It was a blast. I don’t know if it sold any books but I had fun doing it. I did a video interview of bestselling author Allison Maruska (The Fourth Descendant) and we laughed the entire time. We had a great time. Again, did those efforts sell books or did they show a different side of me to an audience? Mark Twain said, sell yourself, not your product.

Cynthia Vespia

colorheadshot - Copy I was fortunate enough to be interviewed by the owner of COS Productions Sheila English alongside Heather Graham! That got me some attention for sure.

This question is for those of you who have blogs. As we all know, I use WordPress. I found Blogger to be too limiting, and I’ve been playing with WIX for the new WordCrafter site I’m building, but I’m having difficulty in setting it up the way I want and I’m considering creating a second WordPress site instead.

Which blogging platform do you use and what do you see as benefits and drawbacks of it?

DeAnna Knippling

deannak I use WordPress.  The big benefit is that everybody uses it, so it’s easy to find templates and other goodies for it, and it works well enough.  The not-so-big benefit of it is that you have to modify the heck out of it before it feels like home, because it kind of looks like everyone else’s!

Jordan Elizabeth

Jordan I use BlogSpot for my blog, and it is okay, but a lot of tends to be finicky and doesn’t always do what I want.  I use Wix for my website, and that too can get finicky.  It doesn’t always look the way I want it to look.  Maybe its just me not using programs correctly!

Tom Johnson

Tom's Back Cover Picture I use Blogger, and have found it works well enough. I have half a dozen Blog Sites. Many Groups will not allow the posting of Blog Links for some reason, so I’ve been having a lot of trouble lately with getting the word out on new Blog entries.

Dan Alatorre

Alatorre I use WordPress for one reason: it’s easiest for people reblog, comment, share, and follow. The end. I want sharing and reblogging and I want one click to make you a follower. WP does that. That’s all I need. I recommend them to everyone. It’s the fastest base from which to build a following at basically zero cost. That’s hard to beat.

Cynthia Vespia

colorheadshot - Copy I’ve used Blogger and I currently use WIX. I know everyone swears by WordPress but I tried it and I didn’t like it at all. My websites are built on WIX and the blog has everything I need.


Marketing and Promotion

Last week we did a segment on marketing and promotion, yet we didn’t talk at all about book covers. This was a huge oversight on my part, because the covers of our books may be our single most valuable marketing tool. Some people buy books just because their interest is captured by the right cover, even if they’ve never seen one advertisement for the book or read one review. Finding, or creating the right cover can be tricky and different authors handle it in different ways.

Please tell us how you come by your covers: DIY or hired out or prefab?

DeAnna Knippling

deannak I’ve done DIY design (from art that I licensed on stock art sites or directly from an author on DeviantArt in one case) and hired out two covers.  The ones I hired out for weren’t successful for me, possibly because I did those when I had a much weaker understanding of the market.  The artists produced what I asked for 🙂  A third custom cover is for an anthology that’s going to go out soon; I think that one will be a great help in selling the anthology.  But Jamie Ferguson (my co-editor) and I did a lot of research on what kind of cover we wanted, even before we commissioned the artist.  You can find out more about the anthology, Amazing Monster Taleshere.

Jordan Elizabeth

Jordan My covers are all made by the publishers.  I give them an overview on what I’m looking for in a cover and their cover artists go at it.

Tom Johnson

Tom's Back Cover Picture I’ve hired several covers done for my books. Plus, I do some myself. I agree, the cover is the first thing readers see, and it better catch their eye. The second thing is the Blurb. Both have to attract and interest the reader. I recently saw this in effect, a writer has a very nice cover for his book, but the Blurb stinks, and I wasn’t surprised when he said he wasn’t selling any copies of his book.

Dan Alatorre

Alatorre Most DIY book covers look home made. Authors should hire someone, and before they hire someone they should see what the top 25 of 50 books in their genre look like and ask to emulate that, then let the artist do their thing. Try to get a few (3-4) mockups and showcase them on Facebook. Even if you are brand new and have zero followers, for $10 you can put together a Facebook ad that will be shown to readers of that genre and let THEM choose the correct cover for you. The fans are never wrong, but I almost always am! Whatever cover I like never wins, and whatever cover the fans like always sells well. Another cool thing to know: after about 12-20 votes, you’ll have a clear winner, and if you get 100 more votes or 1000, the winner won’t change. Remember: you are probably not the target audience, so find them and let them choose. I and friends have spent as little as $50 to $100 for covers that became bestsellers. It doesn’t have to cost a lot to have a winner, but a loser costs a ton – because you have to overcome its crappiness by way of additional marketing expense.

Cynthia Vespia

colorheadshot - Copy I make my own covers. Awhile back I had the rights to my Demon Hunter saga returned to me. At the time, the publisher had used stock photos that made them look like romance covers. When I got the rights back I had a very specific direction where I wanted to take the books for a relaunch. So I began dabbling in Photoshop and eventually I produced some stunning covers. Now I mostly do all my own unless I need specific art work drawn out.

RA Winter

RA Winter I use Kreativecovers and use Kayci Morgan exclusively. She’s wonderful. I can give her an idea and she runs with it. Here are my two favorite covers that she did. The first one, Twisted, you can immediately tell the genre. The second one, Demise, gives you a taste of what’s in the book. I’m so pleased to have her on my team.

 

Instead of asking what makes a great cover, a question that has been asked a thousand times before, with answers dependent on as many variables as there are books on the market, I’m going to ask you each to include the image of what you consider to be your best book cover and tell us what you think makes it a great cover.

DeAnna Knippling

deannak I’m going to use one of the draft covers from the anthology that I mentioned before (this one isn’t final). The art is by Paul Roman Martinez, who is AMAZING. He also designed the logo for us. We started out with probably at least a dozen hours of research into what pulp magazine covers looked like, what we liked, and what we didn’t. Then we had to figure out how to communicate that to Paul 🙂 After a few missteps (totally on my part), Paul did a tentative sketch and, because we had done so much research, we knew it was a winner. We gave him the go-ahead to do the finished art. The logo was actually more trouble–it got to be too close to the existing design on another magazine, and had to be redone.
Best Cover - Knippling
There are a lot of details that go into cover design, and I don’t have the time to get into them here. But we talked a lot about both the content of what the art should be, although we did not actually tell Paul what to create, only what kind of thing we were looking for, and how we wanted that laid out so that there would be enough room for text later.
[Hey, if you have more questions on that, ask – I’m drawing a blank on what to say that isn’t a whole book on covers.]
Jordan Elizabeth
Jordan The most popular cover is TREASURE DARKLY. Readers at book signings gravitate to it without knowing anything about the book. I’ve heard people say they love how dark it looks or that it has a sexy girl.
Treasure Darkly
Tom Johnson

Tom's Back Cover Picture I have a lot of great covers, but will pick NEW PULP HEROES as an example. This is a non-fiction book with essays on the New Pulp Heroes. It’s a book that every New Pulp writer, and every researcher should have. And the cover is pure pulp. The girl is in danger and the hero coming to rescue her. It’s perfect for the subject matter within the pages.

New Pulp Heroes

Dan Alatorre

Alatorre A great cover is what fans say is a great cover and you figure that out using the method I just described. Most authors can’t be objective enough to do that, though. They let their intentions cloud the process.

My best cover is Double Blind, a murder mystery. I look at it and I feel the intensity of the killer. Second is the new cover for The Navigators, same reason – intensity. They just look professional.0

Cynthia Vespia

colorheadshot - Copy I went through several variations of Demon Hunter Saga for the print book. What makes this a great cover? When I’m at conventions among the thousands of talented artists there this cover stands out in a crowd. When people see the book on my table they always stop to look at it. I’ve been told more than once how amazing the cover looks and I’m really very proud.

 

Demon_6x9DustJacket_Front_EN copy

 

Art Rosch

Art 2001 This may be my favorite cover.  I use my own photography and do all the design work.  I love this cover because it describes what’s in the book.  It’s loaded with narrative, mystery and incorporates one of the best design devices in the world, the “S” curve.  The eye is drawn down that oddly green road towards the RV.  There’s fog, stars and a homely thirty year old Winnebago. Who’s in that RV? Where are they going?  Where have they been?  This is a very cool book cover.

The Road Has Eyes

Amy Cecil

Amy Cecil I would say my latest Ripper cover is the best. It is totally eye catching.

Ripper


Sometimes life just gets in the way of things. This round of Ask the Authors panel members have been great, but unfortunately Mark and Kym Todd had to drop out early on when Kym was injured while they were traveling. Art Rosch, as well, has been absent from several segments due to a series of unforseen circumstances starting with a tree falling on his home, being in the middle of all the California fires, and other issues which prevented him from participating in many of the previous segments. Fortunately, Art was able to join us for this last segment, enthusiastic about being back in the game. He wrote me a lovely piece discussing many of the things which we cover here and he also had this to say about social media book promotion and branding.

Art Rosch

Art 2001 Social media. Where else do you promote books? I’ve spent every day for the last five years on Facebook, Twitter, Tumblr, Google Plus and half a dozen others that I can’t remember. I’m so sick of social media that I’ve tried another tack.

I published Confessions in paperback, ordered a box of fifty and started giving away copies. It may be a slow method of marketing but it gets the book read. People talk to me about the characters, they ask questions. That’s what I want: engagement with an audience. Whether my audience is ten people or ten thousand people, I want to hear from readers. If I had a ton of money I’d buy ads on Amazon and Facebook. I’ve heard they don’t work either.

All the conventional wisdom about branding is so much noise. I am my brand. The literature of Arthur Rosch. My platform is made from Popsicle sticks.


Just for Fun

Authors are just ordinary people in so many ways, no matter the level of success we’ve had. So if you will, share with my readers a little about things that make us real by answering at leeast one of the following questions.

What’s one thing most of your readers would never guess about you?

DeAnna Knippling

deannak I often wear other colors than black?!?

Mark Shaw

MarkAtSFTS (1) That I was an awful student in high school, Purdue University (six years), IU law school (4 years not three) and never have taken a writing class in my life.

Tom Johnson

Tom's Back Cover Picture I love coconut. Coconut pies, coconut cake, anything with coconut. I’m addicted to coconut like most people are with chocolate.

Jordan Elizabeth

Jordan I’m terrified of people in costumes.  Think Minnie Mouse at Disney.  If I see a person in a costume, I’m running the other way.

Cynthia Vespia

colorheadshot - Copy I used to do fitness competitions.

Margareth Stewart

Margareth Stewart I’m a shrink (lol). People guess all sorts of professions for me, never a shrink. Maybe, it’s because I´m very talkative and I’ve never done clinician activities.

RA Winter

RA Winter I have five, yes, five boys.  Now you know why I have such an odd sense of humor.

Art Rosch

Art 2001 They’d never guess that I’m a drug addict.

Listen to me: this is true. I’ve had a year in which I felt like committing suicide. I began to write suicide notes in my head and then I would stop myself. “You’re writing suicide notes in your head,” I told myself. “Stop it right now.” I had a spell of depression. I’m doing much better now. One of the things that kept me wanting to live was the existence of my books. I thought, “If I don’t fight for these, they’ll vanish. I’m obviously the only person who will fight for my books, so I’ve got to hang around.”

Amy Cecil

Amy Cecil When I was worried about running out of a particular genre to read (because I was obsessed) my best friend said, “write your own.”  And I did!

Besides writing, what are your favorite things to do?

DeAnna Knippling

deannak Eat and wander around in scenic locations. And read, of course, although that probably goes without saying.

Mark Shaw

MarkAtSFTS (1) Sit in my Mini Cooper convertible by the beach, listen to the waves, and read a good mystery.

Jordan Elizabeth

Jordan I love to read (obviously, haha), paint, and make jewelry.

Cynthia Vespia

colorheadshot - Copy Workout, paint, relax.

Margareth Stewart

Margareth Stewart Sports & cooking, plus reading, traveling, and talking to people.

Art Rosch

Art 2001 Watch the stars at night, play drums and watch TV.

If writing suddenly made you rich and famous, what would you do?

DeAnna Knippling

deannak The normal stuff, like paying off debts and setting up college funds and traveling and buying a house up in the mountains 🙂  But I think I would be going to my library and finding out what they needed.

Mark Shaw 

MarkAtSFTS (1) Live in the south of France.

Jordan Elizabeth

Jordan I would quit my day job to focus on my son and writing.  I hate sending him to daycare.  I love the daycare he goes to, but I want him home with me for adventures

Cynthia Vespia

colorheadshot - Copy Rich would be a load off, famous I don’t ever want. I would keep writing though, resting in the knowledge that at least now I knew people would be reading my books.

Margareth Stewart

Margareth Stewart I always think about that…I will do everything the same, maybe I´d buy some fancy chocolate and coffee. That´s all!

Art Rosch

Art 2001 I’d start a foundation promoting education in third world countries.

What is the one thing you hope to teach your children?

DeAnna Knippling

deannak That other people have valid internal lives of their own.  That’s the foundation of empathy–the rest of being an actual worthwhile human is all gravy 🙂

Mark Shaw

MarkAtSFTS (1) To listen better than I do and be more patient that I am.

Jordan Elizabeth

Jordan To be patient. Whenever I drive and someone ahead of me does something weird, I feel sorry for them. I think they made a mistake. I’ve been in the car with, say, my husband, and he’s furious at the other driver.

Margareth Stewart

Margareth Stewart I guess I´ve already done that and that is authenticity. There is nothing like being ourselves and moving forward!

Art Rosch

Art 2001 I hope to teach my grandchildren how to think correctly and to revere life.

How would you describe yourself in three words?

DeAnna Knippling

deannak Please send cheese.

Mark Shaw

MarkAtSFTS (1) The most blessed man on the face of the earth (Sorry for length)

Jordan Elizabeth

Jordan I just asked my toddler and he said, “Ew, ew, ew.”  I guess I’m yucky!

Cynthia Vespia

colorheadshot - Copy I’m a warrior.

Margareth Stewart

Margareth Stewart Cheerful, busy, project-driven.

Art Rosch

Art 2001 Deep, very deep.

What’s the best piece of advice you were ever given or offered?

DeAnna Knippling

deannak It wasn’t phrased this way, but:  “Make someone else make you fail.”

Afraid of what might happen if you send out a book before it’s ready?  Afraid of going straight to an editor and skipping the agent?  Terrified of indie publishing?  What’s the worst that could happen?  You could be ignored.  Oh well.

Mark Shaw

MarkAtSFTS (1) Never give up trying anything new

Jordan Elizabeth

Jordan  Its okay to take a rest.  People need to recharge their inner batteries too.

Dan Alatorre

Alatorre This is one that everyone can learn to do, and it will help most of the writers out there. Write as if a disinterested 3rd party picking it up had no reference point for what you’d written. You must bring them from point A to B to C. Most writers will use that as an excuse to over write in so much detail the story become unreadable, so here’s this, too: 1. Get to the good stuff as fast as you can. 2. Most writers are too afraid to really bare their soul on the page, so their work isn’t as intense and immersing as it could be.

Cynthia Vespia

colorheadshot - Copy So many because I’m always learning. My best advice is from myself as I’ve learned that life is short and not to waste time.

Margareth Stewart

Margareth Stewart Go for it!

Art Rosch

Art 2001 You can’t heal yourself alone. Ask for help.

What makes you laugh or cry?

DeAnna Knippling

deannak Everything.  One of the reasons my spouse was interested in me was he kept hearing me belly laugh to myself in a college computer lab.

Mark Shaw

MarkAtSFTS (1) When I hear of injustice, of people being denied their rights.

Jordan Elizabeth

Jordan Tickling makes me laugh. I cry when I see costumed characters.

Cynthia Vespia

colorheadshot - Copy Cute animals do both!

Margareth Stewart

Margareth Stewart I laugh and cry very easily, but what really hits me are those unique and anonymous experience that never happen twice, like hugging a homeless guy in the street, finding a pencil in the middle of a supermarket when I just needed to take a note in pencil.

Art Rosch

Art 2001 Dogs.

What is your favorite food? Color? Song?

DeAnna Knippling

deannak Cheese, green, and I haven’t picked one yet because mostly people want to know my favorite book.

Mark Shaw

MarkAtSFTS (1) Macaroni and Cheese, Purple, Imagine

Jordan Elizabeth

Jordan My favorite food right now is cheese, haha.  I love the color black, with blue as a close second.  My favorite song is a mashup of Light ’em Up and Radioactive.  It makes the perfect theme song for the Treasure Chronicles.

Cynthia Vespia

colorheadshot - Copy Pizza, Black, Right now I like “Get Up” from Shinedown

Margareth Stewart

Margareth Stewart Food is my homemade pasta, of course!!! Color = all of them. Song: Ella Fitzgerald “Bewitched…”.

Lilly Rayman

L Rayman

Favourite food – Steak – particularly Scotch fillet.

Favourite Colour – Red and Black

Favourite Song – American Pie by Don Maclean

Art Rosch

Art 2001 Cheerios.  Blue.  Lonnie’s Lament by John Coltrane and You Want It Darker by Leonard Cohen.

In a future where you no longer write, what would you do instead?

DeAnna Knippling

deannak[Glares at interviewer.]

Mark Shaw

MarkAtSFTS (1) Surf.

Jordan Elizabeth

Jordan I would teach. I’m currently a teacher; its what I’ve always wanted to do, other than write.

Cynthia Vespia

colorheadshot - Copy That future doesn’t exist, I would always write. However, if you’re asking what I would do instead…I wanted to be an animator for Disney.

Margareth Stewart

Margareth Stewart Audio books (lol).

Art Rosch

Art 2001 Sit in an urn on the fireplace.

See. Ordinary people. Nothing unique or odd about authors. We’re perfectly normal. Hehehe!


Thank you all for joining us for Round 2 of Ask the Authors. Thanks to our author panel members for sticking with it and putting up with all my probing questions and reminders and fitting AtA into their busy lives for the last twelve weeks. They’re a great bunch of authors and I can’t thank them enough for sharing here.

This has been a great blog series and I think we put out a lot of useful information. I’m thinking of doing a Round 3 sometime next summer. If you enjoyed this series and would like to see more, please let me know in the comments.  Mention which panel members you enjoyed and why, to show appreciation for their efforts.

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Rumi, Spirituality And Poetry

Ego within the Ego

The oldest poetry of all is in the Holy Books. The Rig Veda, The Maharashtra, the Buddhist Sutras, The Old and New Testament. Then there are the extended legend/poems that have become embedded as virtual racial memories of mankind. The story of Beowulf, the Icelandic Eddas, The Iliad and The Odyssey. It seems as if poetry came first, was the primal form of literature, handed down from The Gods to human beings.

More familiar to us today is the work of the Sufi mystics like Rumi. I know that Rumi’s poetry has become a consumer commodity. His work is immune to vulgarization, however, so I’m not worried about Rumi. He is said to be the most widely read poet in the world. His work has survived eight hundred years. He nearly vanished to the western world until Sufi scholar Coleman Barks translated Rumi into English and it took off…again!

Rumi addresses himself to God, to Allah, as if to an intimate lover. He gives all of himself to the Highest because he is in love with the Highest. Rumi is also very human, rooted and ordinary. He offers us practical insights on daily survival. He writes, “Don’t worry about what doesn’t come. By not coming it may prevent disaster.” He may as well have been speaking directly to me. I’ve waited for a lot of things that haven’t come.

Poetry and prayer are inseparable. Isn’t every poem really an address to the Divine? Isn’t it laden with hope, desire, confusion, supplication and maybe even surrender? Rumi’s poetry attracts modern readers because it retains its purity, it can’t be trivialized by the consumer paradigm that dominates our world. It doesn’t matter that Donna Karan uses Rumi to sell fashion. Or that rock star Chris Martin uses this poem on an album by Coldplay.

 

This being human is a guest house.
Every morning a new arrival.

A joy, a depression, a meanness,
some momentary awareness comes
as an unexpected visitor.

Welcome and entertain them all!
Even if they’re a crowd of sorrows,
who violently sweep your house
empty of its furniture,
still treat each guest honorably.
He may be clearing you out
for some new delight.

The dark thought, the shame, the malice,
meet them at the door laughing,
and invite them in.

Be grateful for whoever comes,
because each has been sent
as a guide from beyond.

I can’t think of any more appropriate response to the maladies that afflict us in these times.

This, then, is my poem, a poem very much influenced by Jalalladin Rumi of The Mevlevi School of Sufism.

A Worthy Destination

I haven’t found peace.

I don’t own peace,

rent peace,

buy or sell peace,

though I do encounter peace

from time to time.

Peace is like a friend

who comes for a surprise visit.

As my life takes on a shape

in which peace feels comfortable

I see peace more often.

Peace is not easily found in this world.

Peace comes like an accident,

a good mishap.

Peace lands in my heart like

a bird that’s raised its young

and is looking for a new place to nest.

I thought I would know peace by now,

but it’s taking longer than I expected.

The biggest problem is my mind.

It’s like a bag turned inside out, its contents

are the world, spilled and crazy.

Peace is not comfortable

in the world. When I’m with peace, I feel as though I’ve brought a guest

to the kind of party

that’s broken up by the cops after midnight.

I need to make peace more welcome here.

I should send peace an invitation, find a good solid tree

where peace can perch and sing

before taking flight

to a more worthy destination.

 

To see more of my writing, photography and music I highly recommend that you take an excursion to

http://www.artrosch.com

email writernuts@gmail.com

 

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A Midwesterner by birth, Arthur Rosch migrated to the West Coast just in time to be a hippie but discovered that he was more connected to the Beatnik generation. He harkened back to an Old School world of jazz, poetry, painting and photography.  In the Eighties he received Playboy Magazine’s Best Short Story Award for a comic view of a planet where there are six genders.  The timing was not good.  His life was falling apart as he struggled with addiction and depression.  He experienced the reality of the streets for more than a decade. Putting himself back together was the defining experience of his life. It wasn’t easy.  It did, however, nurture his literary soul. He has a passion for astronomy, photography, history, psychology and the weird puzzle of human experience.  He is currently a certified Seniors Peer Counselor in Sonoma County, California. Visit his blogs and photo sites. www.artrosch.com and http://bit.ly/2uyxZbv.