28 February 2019
Make art about the hurry, about being in a hurry, about the dangers of a hurried life.
27 February 2019
Make art about what’s broken and beautiful, about beautiful versions of brokenness.
26 February 2019
Make art about the river rising, about what the flood takes with it, what it leaves behind.
Distance One-on-One Manuscript Consultation Proposal
A Month By Mail, Focused Completely On Your Work!
Week 1: I receive and focus on a close reading of your manuscript.
Week 2: I will closely read a second time, this time making line by line editorial comments, returning the line-edited manuscript to you, and a detailed 6-8 page letter with initial response and suggestions by mail at the end of the first week. Upon your receipt of the manuscript, we’ll have an initial phone call (these usually last around 2 hours) to discuss those suggested edits, focusing that first week primarily on characterization, consistency, voice, the perceived goals of the narrative.
Week 3: I’ll compose a second detailed letter, this time focusing on structure and control of the narrative throughline, as well as any other elements I see presenting in the submitted work. This I’ll email to you by midweek, and again, we can schedule a phone meeting at week’s end to address this second editorial run through.
Week 4: I’ll ask that you send to me a list of your questions or comments early in the week, which I’ll address in writing, as well as sending you another detailed critique letter, focused on language and new ways of understanding and crafting voice and storytelling. We’ll finish with a third phone meeting to tie up any loose ends, address any remaining questions you might have on the critique provided.
So that’s Full Line Edits, Three Critique Letters, and Three Phone Meetings.
Contact me at firstname.lastname@example.org for a quote and scheduling.
New Poets of Native Nations by Heid E. Erdrich
from Graywolf Press
from Erdrich’s introduction:
“Native nations are our homelands, our political bodies, our heritages, and the places that make us who we are as Natives in the United States of America. More than 566 Native nations exist in the U.S. and yet “Native American poetry” does not really exist. Our poetry might be hundreds of distinct tribal and cultural poetries as well as American poetry. The extraordinary poets gathered in New Poets of Native Nations have distinct and close ties to specific indigenous nations—including Alaskan Native and island nations. Most are members or citizens of a tribe: Dakota, Diné, Onondaga, Choctaw, and Anishinaabe/Ojibwe (my tribe), and more than a dozen others. These nations determine their own membership and their own acceptance of descendants. My criterion that a poet have a clear connection to a Native nation has nothing to do with blood quantum, the federal basis for recognition of American Indians. Race also has nothing to do with it. Geography is not a factor. These poets live on reservations, in nations, and in cities or towns. Some of their reservations and homelands are urban; most are rural. Many of these poets have relatives across the borders of Mexico and Canada. Most are multiracial. They are also a diverse group in terms of age, gender, education, and poetic styles, but they have one thing in common. Not one of them identifies as “Native American” alone.”
Read more at LitHub.
25 February 2019
“blessed be she who is both furious and magnificent” ―Taylor Rhodes
Make art about a woman who is furious and magnificent.
24 February 2019
Make art about what’s left behind.