While your professional editor finalizes your book manuscript, begin seeking possible publishers. Taking one afternoon to do the following simple steps will save you days and weeks of scattershot effort.
1. Find books similar to yours in your personal library, public library and bookstore, and write down the names of the publishers. Don't quit until you have at least 20 names (there are so many publishers nowadays!!).
2. Take this list and find each publisher's website to see whether the publisher is still in business, has a current catalog, and, under "Writers Guidelines" or "Submissions," read about what kinds of books or authors they are looking for; and YOU decide whether it looks like a publisher YOU would like to work with. Make a note of your best finds.
3. While you are on "Writers Guidelines," check whether the firm likes to correspond 1) by snail mail or 2) by email; and whether your first contact should be with a) a query letter b) a query letter with sample chapters, synopsis, or table of contents ("T of C"), or something else, or c) if they want you to send the full manuscript. Write down the editor's full name so you will have someone to address your correspondence to.
4. Having now narrowed your list of possible publishers, Google each to find any news, reports, reviews, complaints, or other material confirming the reputation or economic health of this publisher.
5. Browse amazon.com or the shelves for recent books similar to yours. Make note of any books strongly resembling your own. These are "competing titles," and your publisher will want to know how your book differs from the books already available. That will be an important selling point.
Tripping and cursing, hurrying to the bleating phone and grabbing it, I'd gasp "Hello" to some solicitor who'd reply, "Ms. [butcher my name], how are you today?" Or it'd be a recording telling me to crab to my state senator about some issue. Friends and family no longer called my land line, because I'd gradually disclosed to ever-widening circles my cellphone number, a series of digits never printed, closely guarded, granted only to the chosen. I gave up hoping for an eager call from an old flame or potential employer; they could find me on Facebook or LinkedIn. And the two-page bills embroidered with exotic taxes annoyed me. Finally I gathered the nerve to phone American Telephone and Telegraph and say, "Please cancel my land line."
I had to have someone else in the room with me to actually do it. I was scared. I've had land lines all my life. Without a land line, 911 responders couldn't locate my house; I was cutting it from their map. Also, I had liked my phone number. They're assigned randomly, but some of mine have been more graceful or memorable than others, or were more fun to say, or suited me spiritually. This one had come with the dwelling and seemed like its foundation. I was fond of it. But my cell number is fabulous. It trips off the tongue and walks on air, and if forced to choose, I'd choose the cell number. So goodbye.
Reports about brain cancer and salivary-gland cancers from cellphones -- I believe in them, and had wondered how to handle long cell conversations, but there's an app for that: a speakerphone function, so I needn't clamp it to my ear. Unlike the land line, the cellular phone sometimes drops the call, but we all understand that it happens and forgive each other in advance for the inconvenience.
The phone company's employee surrendered without argument, saying only not to pay the current bill (because they bill in advance for the month to come; why aren't I ever paid in advance for the month to come?) and they'd send a prorated final bill. He said "Service will terminate within 24 hours." I then made one three-minute call to family, and after that the phone was stone silent. Dead. It was chilling.
The system had "hung up" on me.
I moved furniture and released the wire from the jack. Eleven years had yellowed it and dust made it sticky. Bagging the phone was like bagging a body. Never again would I dangle its receiver in the air to unravel kinks in the coils, watching physics in action in its wobbly spin. Never again to hear its dial tone, that warm wordless whine, a sound of the twentieth century, pitched to resemble a human voice.
The second-person "You", usually conjoined with present tense, as in (example)
"You take your mother's wedding dress from your closet,"
appears way too often in poetry drafts, including my own. Contemporary poets seem worried that using "I" is too "confessional" or too assertive. Some years ago poets wanted to be assertive, but currently it's important to seem humble and modest while practicing this most egoistic and self-indulgent of professions.
A "you" implies that there is an "I" but doesn't say so. I say, if it's an "I" poem, please come out of the closet and use "I."
The second-person "you" is technically an address either to the readers or to a specific person the poet knows. The "you" poem very often addresses an impaired, unlovable, absent or somehow guilty person. Therefrom comes the pleasure of using the "you," because you can expose him without naming names. "You" could also be the poet addressing himself or herself, especially regarding a past self such as the one who made a bad marriage. ("You put on the dress and veil/dreading your walk down the aisle to your father" usw.) Why should the rest of us read a poem addressed to your ex or your former self? Please be conscious of addressing poems to "You." It is bad if it is a habit. I catch and correct myself in later drafts.
The other alternative to "you" is the third-person pronoun "he" or "she." Here is where it's clear why the "you" is such an attractive option. Both "I" and the "he/she" demand greater nerve and attention to detail. The "I" should bare it all and articulate the unpleasant truth such as "I didn't want to marry him, but I was pregnant and married him for the sake of the child having a father and so my parents wouldn't harass me." The third-person "She" and "He" indicate people -- characters that must be detailed so as to resemble real people with mixed thoughts, feelings, and experiences. "You" is an outline, a faceless shadow figure -- to the audience. The poet uses "you" to hint at an entity rather than taking the trouble to describe it. It's just easier! The reader must figure out from the poet's dropped hints whom "you" might be -- an ex, a dying grandmother, a former self. I wonder what cultural rule poets are upholding when we could be direct and forthright but choose not to.
If you're not careful you can end up with a line such as "Something happened and things changed," and it will sound so much like everyday speech you won't even notice it until "someone" in your workshop points it out! Especially, red-flag the word "thing" wherever you see it!
There are two "things" to do with these words (or rather, here are two suggestions for improving upon such wording when you find it):
1. Be precise; replace the vagary with the truth of the matter. Is it true that "There was nothing there"? Or was it more like, "The room had no furniture"? Was it "Somehow she got the money someplace," or "She tapped her relatives for money and borrowed from her friends"?
2. See if you can excise the word. Example: "I will see her again sometime."
Rhetorical poetry in the U.S. becomes common during periods of social unrest and comes from poets standing (for the duration of the poem) for some sort of movement or viewpoint. I am a rhetorical poet. Usually in school we say "Oh it's political poetry, we don't like that." We are taught to say that there are three kinds of poetry: Lyric, narrative and epic. They forgot "rhetorical." Because we don't name rhetorical poetry, we can't see it, although when you read or teach Langston Hughes' "Mother to Son," or Robert Pinsky's "The Shirt," a rhetorical poem is what you've got. It's there but unnamed. It's like eating grilled cheese and a pickle for lunch and not realizing it was a vegetarian meal.
Rhetorical poetry is not simply writing a poem about the cause of the month. Carolyn Forche said, "To become a political poet, change your obsessions." You have to have something to say, feel it deeply, and take a stand on an issue. It helps if you're a good writer. It helps if you're part of a "we." "We" makes a poem political.
Here are some of my favorite knockout books of rhetorical poetry:
The Country Between Us, Carolyn Forche (about the U.S. in El Salvador; a highly honored book for good reason)
Power Politics, Margaret Atwood (sexual politics)
Here, Bullet, by Brian Turner (by U.S. soldier back from Iraq; Publisher's Weekly review begins, "The verse in this book is not good, but....timely"; sorry, PW: It's good.)
"A Woman is Talking to Death," by Judy Grahn (a single, powerful long poem, one of the great underground poems; collected in the book The Work of a Common Woman)
Crime Against Nature, Minnie Bruce Pratt (about how the poet lost custody of her sons because she's a lesbian; a book that richly deserved the award it won)
Dangerous Life, Lucia Perillo (about the threat of violence in women's lives)
Selected Poems of Wilfred Owen (soldier killed in World War I)
And many, many more. Yes, such poems have lyric and narrative elements. But they're also rhetorical poems. Don't leave home without them!
How'd I get to be a tenant in a log cabin in the woods? By luck, and picturing what I wanted, and enjoying the noises of mice in the attic and raccoons snarling and fighting outside all night. I save a lot of money by not having to go to B&Bs, apply to writers' colonies, on camping trips to get back to nature, and other getaways.
It wasn't published by a university press, but it's the kind of thing that might have been if it hadn't had that incendiary title. We are now given to understand that university presses are a luxury. Even before "academic" was a rude word, very few people bought and read university press books: They are about ideas, history, culture, science, and so on, from highly specialized or unique points of view. It is easily if wrongly said that university press books are published primarily for their authors and their small academic circles. Yes, it's for their CVs, but it was also about getting air time, even a little, for facts and concepts just as valuable as any others -- some of them with the potential to explode the entire culture or a generation's thought patterns. Sure, scholarship is "heavy" reading. It does heavy lifting! Sometimes these very few readers, also teachers and/or writers, funnelled these ideas into the culture at large, down to the street level, and changed our conceptual thinking, whether the ideas themselves were right or not: Feminism. Literary theory. Gender studies. Biblical exegesis. Afrocentrism. Philosophy of language. Particle physics. That National Geographic had a political agenda. And so on. (P.S. Sexual Politics has been kept in print since the year 2000 by the University of Illinois Press.)
So a university press might look to a cost-cutter like a great luxury, although the University of Missouri Press, publishing between 25 and 50 books per year with a staff of 10 on a budget of around $400,000, was a miracle of cost-effectiveness. If they published each year only one idea or one fact that got out and got traction in our minds, an idea that got lived in, that's more than $400,000 worth of most anything else on campus will accomplish.
It went well. This entry is not about the work or how it was received (just fine!) but on the exceptional demands that "blue" material makes on the speaker. First I had to slenderize the poems so none of them sounded blue for blue's sake, making sure each line carried genuine content. At Chance Operations delivery really counts: Entertainment is valued. And real entertainers don't falter, shuffle through papers, get self-conscious, apologize for their material, mumble or mess up, and they care about timing and shadings in volume, speed and tone. They can't be worried about their clothes or looks, so I wore the simplest possible thing. I wanted first to have no patter at all before and between poems but saw I needed to give context at least twice but kept it very short. While rehearsing I kept revising, so the poems were not completed until the day of the reading. It was evening and I knew I would be physically tired before I even started, so I asked to "go first" and carefully geared myself up with a cup of coffee and protein, and sat alone to get focused and centered. It was going to take enormous confidence. I have never disciplined myself so severely for a poetry reading. The preparation paid off, though. Entertaining is no joke!
My co-readers on that evening were Eileen G'Sell and Gabriel Fried. The photo was taken by Tony Renner. Thanks to Chance Operations for the chance!