Contributor Update: Roy Guzman

Good afternoon, everybody! Today brings exciting developments from the field: past contributor Roy Guzman, featured in the Poetry section of our 18th issue, has been selected to have his poetry included in the brand new anthology from Tia Chucha Press, titled The Wandering Song: Central American Writing in the United States. The anthology is scheduled for release this month, and was edited by Leticia Hernández Linares, Rubén Martínez, and Héctor Tobar, with a foreword by Juan José Dalton. Go pre-order this brilliant collection of work here, and do yourself a favor (if you haven’t already) and go read Guzman’s poem in our 18th issue here. Let us know what you think in the comments section below!

Pre-order now!

The cover for The Wandering Song, featuring the work of past contributor Roy Guzman.

 

Book Spine Poetry Contest

Superstition Review is pleased to resurrect our Book Spine Poetry contest, running Monday Sep 19-Sunday Sep 25.

How it Works:

All submissions must come through Superstition Review‘s Twitter. Please send a picture of your Book Spine Poem in a tweet that includes @SuperstitionRev #BookSpinePoetry

What You Win:

Judges will pick the top Book Spine Poem, and the winner will receive a Superstition Review mug.

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Past Entries:

Visit our Book Spine Poetry Board on Pinterest to see past poems.

Book Spine Poetry

Getting Ready for @AWP2014

AWP BookfairIn a few weeks, thousands of writers and editors will flock to Seattle for the annual AWP conference, and for the first time, I’ll be among them. As a newcomer, I’m overwhelmed by the thought of more than 12,000 writers rubbing shoulders at a massive bookfair and cutting loose at a nightly dance party. (AWP veterans and bloggers have already warned me about the dizzying amount of stargazing, badge-scoping, and bright tights I’ll see.) In addition to emotionally readying myself for the apparent madness that is AWP, I’ve been making these preparations.

1. Planning my schedule

I love how easy it is to create a schedule on the AWP website. It was so user-friendly and easy, in fact, that I just kept adding. The next step was narrowing down my selections from four or five panels per session to one or two. After spending a few hours staring at “delete from my schedule” buttons and agonizing over which panel to choose, I realized that once I get to Seattle, my meticulous schedule might be for naught. For now, it’s a helpful way to see who will be presenting, decide who I absolutely must see, and envision how I’ll spend the conference. And my conclusion? It looks like I’ll be running from one panel to the next

2. Doing my research

I realize that it’s impossible to research everyone on every panel I’m attending. However, I am trying to do some preliminary research so that if someone asks me whose panel I’m seeing next or what I thought of Richard Nash’s discussion on small press readership, I’ll have something to say. I’m also trying to bulk up on Superstition Review material, as I’ll be manning our table at the bookfair for an hour each day. I’m sure we’ll be seeing a lot of past contributors there as well, and I’m hoping to be able to pick some out of the swarming crowd of writers.

3. Getting my social-networking feet wet

The S[R] team will be doing a lot of live reporting from the conference, which means learning the art of tweeting on-the-go. I’m not very Twitter savvy, but thankfully we have a few social-networking wizards representing the magazine this year – I hope to pick up a few things from them before the conference begins. We’ll be using an app called Everypost this year, which allows us to post content to all of our social networks at once. This will make live tweeting from panels and readings so much faster, though I’m sure we’ll still be seen occasionally hunched over our phones, trying to type a fantastic quote. We’re also hosting a few contests over social networks with daily prizes at stake, so be sure to stop by #TableC40. Of course, we’ll be on the lookout for #SRalum and continuing the ever-entertaining #overheardatAWP.

4. Finding eateries near the conference

I’ve heard about AWP’s classic $16 water bottles, so I’m not planning to buy much food onsite. At the same time, I don’t want to spend hours away from the conference in search of a decent restaurant or grocery store. Luckily, there’s a Trader Joe’s about a mile from the conference hotel and a host of good restaurants downtown. To save on time and money, I’m planning to stock up on snacks that I can break out in between sessions. I also know that I will need to escape the madness of the convention center at some point. Might as well leave to find food! Being in downtown Seattle, it will be really tempting to visit Pike Place Market. I could spend the entire afternoon at the market though, so if I venture there, I’ll have to do so with a purpose (i.e. Beecher’s cheese and Le Panier’s croissants).

5. Setting a budget

I am planning to spend some money at the bookfair – I know I won’t be able to resist buying a few books and signing up for the occasional subscription. And I want to. We are at AWP because we understand the love and devotion that goes into literary publishing and want to support each other’s craft. However, I am a poor, starving college student. Ok, maybe not quite starving, but I might be after I spend all my money on croissants and literary magazines in Seattle.

We’ll be lighting up all our social networks while at the conference, and I will be back with two more blog posts – one while in the trenches and another after we return to Arizona to see how effective all of these well-intentioned preparations were. See you at AWP! And on our networks:

                  

Guest Blog Post, Vanessa Blakeslee: Ten Rules for Writing Fiction

Vanessa Blakeslee1. Take care of yourself. Much like the announcements before flights regarding the placing of oxygen masks, you can’t expect to render your characters fully if you’re out of shape and eating poorly. Exercise regularly and eat fresh foods. Caffeinate moderately. Get eight hours of sleep every night. To underestimate the power of the subconscious, the breakthroughs that undoubtedly come from the dream-state and walks in the park, is foolish and undermining of the imagination at work. Never mind that your ability to contribute to the literary canon is severely compromised if you’re sick or dead.

2. Become aware of the effects of environment on your process—and change it up if need be. If you can’t settle in at your desk today, try the couch. If the sun is shining during your writing hours and you can’t stand being inside your apartment one more second, find a park bench or an outdoor café. If you’re in public and one-sided phone conversations keep intruding on your characters’ dialogue, seek out someplace quiet. Go wherever you need to be to enter the fictional dream as completely as you can.

3. Write first drafts in longhand whenever possible. My initial drafts almost always turn out truer to my vision when I’m connected to the physical page through a pen or pencil, thus saving time later during revision. I think there might be scientific data to back this up, but regardless, one obvious benefit is that you are much more apt to cross-out and play with alternative phrasing in the margins and between sentences, etc., sometimes literally question what you may be attempting to say on the page. Whereas in word-processing software, you don’t like a phrase, Delete-delete-delete, and not only is it gone forever, but so is your record of what you were aiming for, even if your initial attempts at grasping for an image or line fell short. When you type up the handwritten pages, you’re composing your second draft—added bonus.

4. Keep questioning the stakes of your premise. Often, at the beginning of a new story or before a revision, I’ll write, “Is this a great story of love and death?” across the top. If the answer is no, then consider how you might approach the premise differently to make it more gripping. If it is a novel, trace the narrative backwards to see where you may have gotten off-track, or strayed from the tension. You may be surprised in going over your drafts at how much of what you may have considered essential is in effect tangential.

5. If you’re stuck or between scenes or sections and uncertain where your protagonist goes next, take a short nap. Again, sometimes a quick dip into the subconscious is just the trick for stirring up new ideas/images. Although you’ll have to wait until you get home if you’re at a coffee shop.

6. That said, sometimes you have to just power through. This is tricky advice to give, when to step away (or nap!) and when to power through, and largely instinctive. But powering-through happens for me after I do a good bit of questioning and jotting down of potential ideas in my notebook regarding where the story needs to go next. There follows the sort of heavy feeling of anticipation, excitement, and despair regarding how I am going to accomplish what is to take place—but all that remains is doing it. That’s when it’s time to log out of Facebook, brew a fresh caffeinated favorite, push ahead, and trust.

7. The Internet/Facebook/Twitter/Etc. Figure out your relationship to it. I love nothing more than perusing for articles on strange happenings and the idiosyncrasies of my friends’ lives; as such, I’m a self-proclaimed Facebook addict. I’ve never been a big procrastinator, either, but when I arrive at my desk I tend to scroll the Facebook newsfeed until I have an overwhelming feeling that I’ve been pummeled enough by everyone’s happenings and achievements, and am then happily driven to the page and my inner world. In between scenes or sections and when I take a snack break, I will often log back on. Sometimes I go to coffee shops because although I have a smart phone, I am much less likely to be distracted by the Internet when I have actually driven somewhere and purchased menu items with precious dollars. Only you can figure out how to balance the work/Internet pull.

8. Learn to trust and develop your gut instincts regarding your work, and others’ critique of it. True, you’ll always be too close to it, because you’re the creator. And there will always be some voices ringing out in workshop that are way off for your vision of the story, your aesthetic, etc. But then there will be some who are right on, whose searing feedback or advice matches the quiver in your middle when you hold the draft up before your eyes. Better to have a handful—even one—of these voices in your corner than none. Cherish such readers, yet also keep in mind that someone who may have resonated deeply with a previous project of yours may not have the same relationship with the next one. Have the courage to seek out fresh eyes.

9. Realize the value of your work—because if you don’t value it, why should others? Delegate as many nonessential, non-writing tasks to whatever degree you can—to agents, interns, teenage children/siblings, eager grad students, etc. If you’ve got a $50,000 a year teaching gig, hire a maid service to clean your house once or twice a month so you can invest in those precious days off to write. Figure out which holidays you prefer to celebrate with family and which ones you can skip to attend a writers’ colony, or borrow a friend’s cabin in the woods for a couple of weeks.

10. Meditate on your death every day. This meditation will usually be fleeting and hardly morbid—but certain, yes. You are going to die. Maybe not today, or tomorrow, or six months down the road. Then again, maybe today. All that will be left of your essence in this life will be what you’ve left behind, written down. Is what you have to say essential? If not, how to make it so? Most everything pertaining to the craft of writing can be boiled down to those two questions.