Just a quick note to let our newsletter subscribers know that the latest version of our complimentary contest guide (a subscriber-only benefit) is now available for downloading (at the same old location–just log in and click “Files”). Enjoy it! (Not yet a subscriber? Our newsletter is free! Find out more here.)
Curious about the changes at The Paris Review since Philip Gourevitch took over as editor? Shifts in format and focus? Then read this Q&A published in the Boston Globe.
Well, these aren’t coming to you in the morning (I was in New York this morning, and have only just returned home to Massachusetts). But I hope you’ll find them helpful just the same.
Happy New Year, practicing writers!
1) First, you’ll find lots and lots of market news in the January issue of our newsletter (it went out to subscribers last week; each current issue is republished at FreelanceWriting.com).
2) The Boston Phoenix is looking for a part-time Copy Editor. Pays: $20/hour.
3) Writing/Research Opportunity for book on women who are over 60. Pays: $10/hour, plus acknowledgement in the book.
5) Jelly Paint, a literary e-zine, is becoming a print magazine–and a paying market. “Our main focus is on young adults and young adult writing. In the future, we may expand our target audience, but please contact the editorial staff if you are unsure.” Pays: $10/poem, artwork, cartoon, photograph; $20/cover art, short story, article, essay. See guidelines here.
Many thanks to Claire Zulkey at the MBToolbox for getting the go-ahead from Soft Skull Press and republishing Gary Mex Glazner’s very helpful advice on giving a (poetry) reading. Claire has posted this succinct and yet somewhat lengthy information in two segments: one and two.
This information comes from Glazner’s book, How to Make a Living as a Poet, which I read, enjoyed, and reviewed (albeit in a very short, capsule-like review) when it was first published. And I don’t need to ask Soft Skull Press (or anyone else) to republish it! Enjoy!
POET FOR HIRE
HOW TO MAKE A LIVING AS A POET
by Gary Mex Glazner
Soft Skull Press, 2005
Review by Erika Dreifus
Ever considered being a poet-in-residence–for a hotel? Dreamed of finding some magical patron to give you a place to live (rent-free) while you worked on your writing? In his new book, Gary Mex Glazner describes how he and others have managed to accomplish such feats, how they’ve been able to “make a living as a poet.”
Glazner, whose impressive resume includes directing the Alzheimer’s Poetry Project and serving on the board of New Mexico Literary Arts, for which he oversees the Rural Poetry program, has essentially assembled a tripartite handbook in “How to Make a Living as a Poet.” The first section, “The Poetry Entrepreneur: Creative Poetry Programming,” offers detailed examples of ways to earn money as a poet, such as those mentioned above.
The book’s second part features interviews with prominent poets/writers, including Sherman Alexie, Mary Karr, Naomi Shihab Nye, and others. Finally, “Nuts/Bolts/Rants/Manifestos” offers helpful hints on everything from writing a press release to giving a good reading.
Together, the book’s elements offer practical tips to manage the basic business of a poet/writer’s life, plus creative suggestions to increase income while still doing the work one loves. That’s an excellent combination. And according to the very interesting page 147, where the author invites reader response, we won’t have to wait long for the sequel.*
*Available in March 2007, also from Soft Skull Press: How to Make a Life as a Poet
This Guardian blog post on committing poems to memory brought back (mixed) memories of my eighth-grade assignment (for a social studies class, not an English course, as it happened) to memorize Kipling’s “Gunga Din”. Rereading that poem now (eighth grade was a long time ago) I wonder how–or if–it is taught today. I can see it causing quite a stir in the more politically correct classrooms of our current times.
What poems have you memorized? Why?