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National Poetry Convention

Mon, 18 Jun 2007 15:23:43 GMT

I went to the National Poetry Convention in Oklahoma City a week ago. I actually alternated between it and SoonerCON, a science fiction convention. (More on sf cons another day.)

The average age of attendees at the NPC is probably around 75. Some poets there were, literally, in their 90's. So, as you can guess, there is talk of how to bring in younger poets.

It's gonna be hard to do, though, when the poets there are quick to look down on newcomers to their venue. I suggested poetry slams, and youth contests, and other open mic events like Poets in the Park, which is something my poetry organisation does. Eyes glazed over at the mention of the slams. They don't think that is real or good poetry. (Sigh.)

And then there was this...

I arrived at an awkward time, I guess. They'd made really nice laminated badges at home. But didn't have "on the spot" badges, so I paid and went in, and had a badge nazi ask me what I was doing in there without one. I said, "Well, I paid for the conference but they didn't have the kind you can just write your name on. They said they'd have one for me tomorrow."

To me, it was no biggie. But, a badge nazi caught my husband who was outside in the hall milling around. In the hall of a hotel, mind you. Not far from the restroom, not IN the convention meeting. And he was distinctly made unwelcome--to the point where he came and got me and said, "I don't care if you paid for this, we're leaving."

How sad is that? So, I didn't go back the next day. I did go on Sunday and complained about that whole thing. The "powers that be" were terribly gracious and sweet and apologetic.

The thing was...before I went, I had run into a lot of poets who said they would never go back because they felt like an outsider, unwelcome, etc. I pshawed that, and went to see for myself.

Now, I'm just stubborn enough to go back and make them accept me. To read poetry so great that they can't help but acknowledge me as an up and coming, nationally noticed poet. I mean, I have a poetry collection that I won publishing contract to because I competed in an international competition with 1500 competitors. I've had three poetry books released this year--and none self-published. Although there is no negative stigma about poets self-publishing...a fact that was obvious at the national convention. Chapbooks abounded, homemade. So, if you have some, feel free to take them and set them up there in the book store they offer.

My big point here is not to complain, but to say, "Take pride in who you are. Know that you are good at what you do because you gain confidence the more you learn and the more you display your talents and see what your competition is. Don't let someone belittle you, or make you feel unwelcome, especially at a convention because a single person does not represent the whole. And you can make a difference if you persevere, if you buck up and insist people take you seriously."

I have every intention of going back to the National Poetry Convention, and to contribute to poetry awareness on that level. Feeling a little like Norma Rae here. I can make the world pay attention if I scream loud enough.

NO ONE has the right to make you feel like an outsider at a convention. Those who do don't get the concept of a convention--it is for people with a common interest to come together, and to discuss how to spread the word of appreciation about their topic. It is to help the individuals improve their craft (or whatever) and to find comeraderie.

That said, I believe that a party is only as fun as the people at it. If you're not having a great time, maybe you need to do something to improve that.

And people can only belittle you if you let them. I say, "Don't let people get away with that."

The badge nazi? I chatted with her until she softened and got nice. I would have stayed the first night if my husband hadn't been so offended.

This is sort of funny (in a bad way). I stood up to read a poem. It's the one that won me a poetry publishing contract. I didn't get a chance to say that. I introduced myself, saying, "I've been the president of Missouri Poets and Friends the last couple years. My name is Jennifer DiCamillo and this poem is titled Sunset in San Diego and is written in twelve syllable lines."

I took a breath, ready to start the poem and the old lady running the show was rude to me. She said, "We don't need to hear your life story. Just read your poem."

It was horribly offensive. But, I understand they don't have time for everyone to chat before their reading. So, I repeated the title and read the darn thing then went and sat down.

The next poet (the badge nazi) got up and started by saying that she'd talked about her daughter and grandbaby being in the hospital and everyone would be glad to know that they were released and on their way home. That had nothing to do with the poem she chose to read.

Now, I sat there, thinking...the old lady didn't shut her down. What's up with that?

What was up was...I was an outsider. They had all been going to the convention for years and years. I was brand new. I had not "earned" their respect.

It's wrong to see that sort of bologna, but it is how it works at the big conventions. Most conventions, in fact, have regulars--some that have come every year since the convention's inception. If you know that before you go, you can steel yourself against that sort of snobbery and bad behavior. You can expect it and deal with it when it comes.

If you're an old timer/regular, and you read this, you can take the message back to your group--this sort of snobbery to newer convention goers has to end. It is rude and unacceptable, even if it is common practice. That's why many conventions have the average age of attendees as over 60, or 70.

You have to welcome the newcomers. I'm in my early 40's and it is very sad that I'm one of the youngest goers to almost all writing conventions that I attend.

More on the BEA (Book Expo America)

Thu, 07 Jun 2007 15:58:23 GMT

I drove to the Book Expo for one specific reason. I weighed the costs. I could haul more value in books home, after paying gas, food and motel for the extra days in travel than the cost of a plane ticket and shipment for books.

The one drawback was that I had to carry (heave?) those bags and bags of books out, and to the car.

The convention centers that are big enough to hold events with thousands of booths are huge. Walking from the front door to the booths is a long distance for people with back, feet or leg problems. Carrying the books on top of that is a horrid task, imo. You can take a rolling suitcase, but you have to check it in, leave it, and carry books to it--which can still be a distance to go.

Healthy, fit people don't have to worry about the hiking, I guess, but I'm getting old and appreciate shorter distances to parking areas, and curb service. A cab, or driver who can bring the car to the door is a Godsend, if you can afford that, or have someone who loves you enough to do that, or help with the hauling of your booty (free books)--I totally recommend that.

There are plenty of free book bags to haul stuff away in at the BEA, so that isn't a problem. It's not like you have to carry in a ton of those.

However, the more you haul out, the pickier you get about what you're willing to carry. Three days of that, and your arms, legs and back become decidedly stoped out if you aren't careful. Be sure and wear comfortable, well fitting shoes. I can't stress that enough. And take lots of cash. The drinks ($2 and up?) and foods there are not cheap.

As a writer, the one reason I felt it important to take books was because I wanted to know what a specific publisher liked, so I could get a feel for the flavors they published. If you consider that, you might advance your writing. I think about that every time I read a book. I learn, also, from the turns of phraseology in description and action that other writers use.

Book Expo America

Wed, 06 Jun 2007 13:37:04 GMT

I went to the book expo in Chicago a couple of years ago, and to New York too. That's an experience every writer, agent, editor, and publisher should try once.

I found the deal eye-opening. SO many publishers out there. So many books. So many writers. I saw what I didn't want to be, and what I DID want to be. I saw many marketing concepts and promo ideas. Things to do. Things not to do.

You can see how a publisher handles themselves, and markets. You can make contacts, and ask them what they need. If you go, DO THIS. Give your business card, take theirs.

Wear clothes that are comfortable but not sloppy. No need to wear business attire, but make sure your shoes are comfortable for walking miles of aisles.

Word to the wise, it is almost impossible to SELL books there. Most books are given away as promo by the publishers. Great place to give out post cards and business cards, though. Definitely drop some in the librarian sitting area.

And know this, if you send cards or promo items with someone, the leftovers will likely be thrown away at the end of the deal because no one wants to haul them out. Books are left in piles on the last day. Books are given away--as many as you can carry out. They have a shipping center, but it's not cheap. It does allow you to not have to carry them out, though.

The most important thing besides contacts at the expo is the Expo Guide. It lists every publisher that has a booth, and their current mailing address. Those are free with some passes in, $40 or so if you don't have the right pass, and free, sitting in piles when the deal is over, if you wait until the last hour. Definitely worth getting that, if nothing else.

More about conferences?

Tue, 05 Jun 2007 13:12:30 GMT

A fellow writer (children's books) told me she didn't get much from writer's conferences and thinks they are a total waste of money. I found it interesting that she's speaking at two this year. LOL Be careful what you say aloud in front of writing folks because they remember and see the forked tongue.

But then, maybe she listened up when I said, "If you don't get anything from a conference, it's you, not the con. You need to change your attitude, for one, and go expecting to learn something, and then putting yourself out there enough to meet the people who are there to teach you."

Truth is, you can learn from the worst writer. From them, you glean what NOT to do.

I go to a lot of writer's conferences. I go to different ones for different reasons. I actually try to learn something from all of them.

I learn how others promote their books and their selves. And make no mistake, after you write what you write, and finish it, and get it into book form, YOU MUST PUT IT OUT THERE. Even if you have a great publisher that does many things on your behalf, you must sell that book, but more importantly, you must sell yourself.

Putting bookmarks, business cards, and postcards out is the easiest thing. Many conferences have goody bags and you can get your stuff in those, or on a freebie/handout table.

You have tons of opportunities to hand them out personally, too. So, go to conferences thinking "How can I introduce myself?"

What? You aren't published yet? Still, you need to have business cards. Hand them out by the thousands. Tuck them in books at stores. Eventually, people will know your name. And when they see a book by you, they will at least give it a glance.

Science Fiction Conventions

Wed, 30 May 2007 14:36:40 GMT

I went to Kansas City to CONquest this last weekend. It's a science fiction convention, and it's in its 38th year. The people that go are like family to one another, but friendly and willing to invite you into their circle of friends. So, I recommend it. It's a lot of fun...if you're into sf and fantasy. They have a great art show and art auction every year and you can meet cool artists, too.

But, I have to say the most important warning is...you can't go with any judgmentalism in your head. The people there run around in costumes, or in jeans and t-shirts. They are casual, down to earth, and out of this world at the same time.

The people who run the con work hard, and they do a good job of being welcoming and helpful to new attendees. And the attendees run the range of extremes in personalities and jobs. I sat with a jet propulsion engineer and a pirate one evening...discussing future modes of travel, and power systems. And threesomes. Both had open relationships. While I'm fascinated by both, and don't understand either, I totally enjoyed the chatting.

Then, I went to another room, and talked about poetry with a gal that I thought was totally fun. And in another room, I listened to some others discuss the value of Buffy, (the vampire slayer, yes!), versus Dr. Who and Rocky Horror Picture Show.

So, you can find convo on any level there. High tech, and lower stuff like "Just what goes into the Hurling Monkey Punch they're dishing out of the silver bowl?" (Let me tell ya, there are a lot of bottles near that. It's an interesting concoction.)

And in the pirate party, I saw some shots that were apple pie. Some sort of kicking alcohol with cinnamon (like red hots soaked to dissolution in the solution). I'm serious here, that stuff--men would take a shot and within five minutes, you could see them woozy.

But then again, for the nondrinkers, there's tubs filled with sodas and water. And the CON SUITE is filled with food around the clock. So, if you get hungry or have the munchies, there's plenty to take the edge off.

Writing rules of thumb that I live by.

Fri, 25 May 2007 18:17:41 GMT

Can I point you to my other blog? It is geared to help writers.
http://www.xanga.com/jenniferdicamillo

As we know, an opening hook is a key thing. If you can get people asking, "What happens next?" Or caring about what happens to your characters because they like them straight up, or see them in peril, physically or emotionally, or heading for trouble, the reader will read on.

There are some rules of thumb for pacing that might help your story seem less boring. Each page should have a balance of what I call the ADD rule. Action, dialogue, and description. If you check each page for that, you can clean up imbalances in how the story flows.

For example, if a character's inner dialogue or physical inaction drags on, you can see that at a glance. If your dialogue has no action between a whole page of lines, you can see that at a glance. If characters stay in the same room for three pages, you have a problem. Unless, of course, they are trapped in a room or place for a reason important to your plot.

Mostly, though, when you question, "Is this boring?" You should realize that IF YOU, as the writer, are bored, your reader probably will be, too. Back up. That probably means you took the story the wrong way, or in an unsatisfying way, in the last scene.

That is one of my other rules of thumb. If I lose interest, I need to go over the last scene, maybe eliminate it and go a different direction.

Social Security AND I hate filling out forms.

Thu, 24 May 2007 14:01:56 GMT

Why is there so much bureacracy and red tape in this world? Why does everything require a properly filled form?

I, personally, hate forms. I know it's supposed to make it easier to complete the needed paperwork, but I hate trying to determine what "they" are asking of me, and trying to answer it properly.

Oh, I've got the "Name, Address, and Phone Number part." But after that? I choke. I get angry. And that starts happening right about the time someone asks for my social security number.

Is it just me, or is every form, every loan, every CHECK now covered in all my personal information, the likes of which can get anyone into my private data, my bank, and my government files?

A check, for example, is a simple form. To be accepted, it has to have your name, address and phone number on it, plus your bank account information and signature. On top of that, they usually take your driver's license info, including date of birth and social security number, and write that at the top. Think people. That is all a crook needs to get everything you own.

What? You didn't put your social on your driver's license this time? You took the "optional number"? I can assure you, there is a systematic way of calculating THAT back to your actual social security number. I didn't believe it. My Allstate agent proved it to me.

You might want to read up on SS info here: http://everything2.com/index.pl?node_id=69608

Did I mention that I have a very inexpensive ($.49) nonfiction article at Amazon in the Amazon Shorts section that talks about protecting yourself from credit fraud, and identity theft? Just google JENNIFER DICAMILLO. You'll find it.

Finding a beginning?

Wed, 23 May 2007 16:28:01 GMT

I've been working on a manuscript, and have a lot of pages written. But they aren't working for me. Every time I sit down, I get another beginning to the story.

My first novel, The Price of Peace, was like that. It originally started on a battlefield with two men spitting at each other. Well, not spitting, but growling and posturing and talking about the war to come--trying to work things out before it came to blows.

I feel like I'm on a battlefield with my new manuscript. Optional beginnings are vying for my attention, screaming "Start with me! You can backflash that other start."

I took some pieces to my writer's group. One was a very romantic opening. One was very sf. One was very explosive, beginning with murder and mystery. They took the serious action. They voted for me to start with that.

I think today's readers want us to start with a bang. In the old days, a story started at the beginning, like it does in the movies, with a panorama of the scenery and location first, so the mood could be set. Some publishers still want that, but more are leaning toward volcanic eruptions, things catching fire, people getting shot.

Just something to think about.

The Romantic Era?

Tue, 22 May 2007 14:30:59 GMT

Last night, at Missouri Poets and Friends, we read poetry that we, as individuals, appreciated from The Romantic Era. I had to go look that up because, honestly, I had to ask, "When the hell was the Romantic Era?"

All I can say is... Thank God for Google. It bails me out all the time.

It's the age of Shelley, Keats, and Byron, in case you're wondering who was popular during that time. But, anybody who does a little digging on the writings of that era will find that mostly the poetry was about nature.

Romantic Shmomantic, I say. I wanted to find romance!

In my uneducated opinion, a lot of what I did find was bombastic, expounding on and on with nothing to emotionally bind me to the words. But what do I know? I'm a fledgling poet in the world's standards with a lot to learn. But that's why I was reading up. So, I could get a grasp of what was good (and lasting) about those poems. Still meditating on that.

That is not to say that I couldn't appreciate some of the turns of phrases. I just like to be honest. Cooleridge did a great poem about a raven, which is regularly cited as Poe's inspiration. Interesting, huh, that Poe, the great writer, sorta ripped off his most famous poem from another's list of "best poetry." Is it politically incorrect to mention that? (Probably.) But who listens to me anyway?

I always feel like screaming "Stephen King's Christine is a plot for plot, total ripoff of THE CAR, a 1959 movie. And there was a Twilight Zone episode of the same ilk before that." That doesn't mean King's version wasn't extremely suspenseful or marvelously written. But, when someone talks to me about "not writing cliche"--those examples always come to mind. What makes something cliche?

In the Romantic Era, I noticed a ton of poetry about leaves, and trees. La-de-dah. What poet hasn't gone on about the wind rustling in the trees? My point is...when you write, no matter what you write, it needs to be done in a way that makes me, the reader, care.

I love trees and anything green. And just on that basis, I am sad when a tree is chopped down. But I don't know how you feel about trees. So I need to relay some emotional sentiment if I'm gonna write about it.

Here's an example...about an old tree that was hacked down. It was infested with worms or something and the owners didn't want them to spread to the others on the property. So, there's a visual and a good reason to do the tree in. But what if I mention that a great grandfather had planted it and even more interesting, when the tree was killed, he keeled over with a heart attack? More interesting to you? In three days, some master craftsman makes the tree into a new podium for the church where the funeral was held. A place the old man never stepped foot in but where his wife went faithfully every week. What if I open and close with a mourning line, the view of someone who realized that the man had left a legacy they would contemplate every time the preacher got tuned out? That minor tale becomes literary because it has an underlying theme of "leaving something behind" and "ironic justice is sometimes played out without our control." Don't you think?

I did notice that a lot of new poets in the Romantic Era wrote poetry to other poets, dedicating their sonnets as a response to a poem by someone famous. What a great concept for self-promotion. I'm gonna have to try it. You know, write poetry TO the greats of all time. Then, when people check a search engine, for, say, Shakespeare, Keats, Byron, Shelly, Browning, or whoever, they will find my ode or sonnet to the famed one. By searching for THEM, my name will get spread around. Not a bad promo concept.

Actually, mutual edification is a proven path to success. Willie Nelson and Waylon Jennings used to talk about each other in their songs. Allen Jackson and Jimmy Buffett do the same thing. IT WORKS.

Feel free to mention my name in good ways and let me know, so I can point my friends, family, and fans to your stuff by saying, "Hey, look who's talking about me now." Ya know?

But back to the Romantic Era poetry...and the real point of this post, which is to give you a writing exercise that might stretch your abilities.

What's important is that the artists of the time were rebelling against the technological advances by writing about what was good and natural. They were big on iambic pentameter. You know, getting a rhythm/cadence of lyrical quality into their work.

If you're looking for a good writing exercise, whether you're a poet or not, try writing in iambic feet. Da-dum. Da-dum. See if you can keep it up for any length of time. But try it in ten syllable lines. (Pentameter). That might make it easier increments to work with.

Bad Writing Inspires Me, Too!

Sun, 20 May 2007 14:22:59 GMT

I learn from every writer I meet, and every book, story, or article I read.

I learn more from bad writings than anything else, probably, because they stick in my head as "what not to do."

Bad logistics, things not thought through, seem to be prevalent out there. I wonder, way too often, did the writer just...have a brain seizure while their fingers kept moving on the keyboard...and the subsequent editorial process have a similar slide of brainless boneheadism?

I recently watched an episode of Mythbusters where they went after movies with unbelievable scenes. They pointed to Underworld, where there is a very cool visual of the heroine shooting a circle around her feet, into a platform, with a machine gun, thus dropped the bottom out of where she was standing so she could escape. Looked good by virtue of Hollywood special effects. Completely myth busted, though...as CANNOT BE DONE. Not in the time frame allowed with the weapon used.

Cases in point:

You can't penetrate armor without armor piercing shells.

Those cannot be pulled out of one's backside at the needed moment.

Well, they can, but it makes the moment CONTRIVED, which should not be done. If you get to a point in your writing where you have to do that, it's okay. Just go back and slip in the needed info to set the moment up. Somewhere in the previous pages, you can mention that the standard issue bullets were exchanged. Or the weapons replaced with one that can perform the expected outcome.

If your vampire can't do squat at the beginning of the story, but has to be able to do every imaginable thing at the climactic scene in the end of the book, give us the mini lessons of how he acquired the skills as the story unfolds. Otherwise, you're cheating the reader and they'll put you on the list of "Too Stupid To Read Again."