Two Sylvias' Weekly Muse: September 1, 2024
Issue 123: September Refresh! (FREE FOR EVERYONE)
Welcome to September, Muse Readers!
In a late August issue of the Muse (Issue #18) two years ago, we talked about the “fresh-start effect,” which has to do with creating goals. We normally think of “goal setting” as an exercise we routinely do each January 1st, but the “fresh-start effect” encourages us to view other times of the year as powerful opportunities to wipe the slate clean and reset our goals and priorities, especially with our writing lives. The beginning of September is a fantastic time for a fresh start as it is the close of summer and the beginning of the academic year.
We recently came across an interesting concept as we were thinking about September and the fresh-start effect—catalyst goals. A "catalyst goal" is a specific type of goal designed to stimulate progress or change, acting as a trigger to inspire further actions or achievements. These goals will create a positive transformation in your writing life because they focus on unlocking your potential and developing new skills, leading to long-term growth in your writing.
Let’s say you would like to complete a chapbook so you can begin entering it into contests in early 2025. A “typical goal” you might set for yourself could be, “I will write and revise at least 5 poems a month (Sept., Oct., Nov.), and I will put my manuscript in order and do a final revision during December.” This goal is focused on quick, productive output so that you have a completed manuscript by January—it’s quantity based.
A “catalyst goal,” on the other hand, might look like this: “I would like my manuscript to explore and employ diverse narrative voices from various time periods. I want to complete my manuscript by the beginning of 2025.” This goal focuses on learning and using a new skill—how to write in a different voice or perspective. In accomplishing this goal, you may choose to read other creative writers who have successfully written persona pieces, you might take a workshop on persona poems, and you might seek feedback from a writer(s) who can specifically help you in this area. This type of goal will give you experience and knowledge in the art of persona poems, which will enhance all of your future writing, as well as give you the opportunity to “walk in another’s person’s shoes” as you create your work from different perspectives. A “catalyst goal” is not a numbers game where you are focused on output.
As September unfolds, we encourage you to think about wiping your “goal slate” clean and coming up with a catalyst goal for your autumn/winter writing. And as you may have noticed, the Weekly Muse has a new look as we begin autumn! We listened to reader feedback and gave some thought to hitting the refresh button. We moved some of the sections around in the Muse and have condensed our poetry exercise and creativity/journal exercise so that they will occur in alternate weeks. As always, we appreciate your kind and helpful feedback!
Wishing you a wonderful fall season, and may the Muse act as a positive catalyst in your writing life!
Time to REGISTER for Lena Khalaf Tuffaha’s Zoom Poetry Class!
Here’s the description of Lena’s class:
I Begin Again With the Smallest Numbers
—Naomi Shihab Nye
How do we write poems when what is calling us to the page feels completely overwhelming, deeply urgent, or simply beyond the capacity of the words we have? In this workshop, we'll consider poems that navigate this wilderness, and learn generative practices for writing into what feels immense and unspeakable.
If you’d like to be part of Lena’s class, please register here. (And if you can’t make it, no need to register—we’ll share the recording the following week!) You can learn more about Lena here.
Poems with a Spiritual Bent
This week we’re writing poems with a subtle spiritual bent. You are welcome to explore any aspect of spirituality that resonates with you. Feel free to draw from a wide range of spiritual experiences and beliefs, and of course, use your own personal perspective to bring a unique touch to your poem. We have two prompts for you today:
#1. Poem in Which a Palm Tree Tells Me Life’s Secrets
Write a poem in which you receive a mysterious and/or divine message in an unexpected way—some ideas may include a dream, a stranger, or even an animal. Perhaps in your poem, the speaker receives the cryptic message of “the stars have threads that connect to you” from a raven whose feathers turn gold as it speaks, or maybe in a dream someone you love comes to you with hidden information about your life. Perhaps you look up into the sky and clouds spell “say yes.” Be creative and consider using surprising imagery, metaphors, and/or even surrealism to convey the otherworldly nature of the message.
#2. The Patch on My Jeans Keeps Me Safe from Danger
Write a poem about discovering a guardian in an unexpected form—a stray animal, a piece of technology, a natural element, or something else. Describe how this guardian guides and protects you in subtle and/or surprising ways. You may choose to write about a stray cat that appears during a moment of crisis, where the cat’s purring becomes a metaphor for comfort and its sharp claws a symbol of protection. Or maybe you write about an old movie ticket stub you find in a drawer, which brings back memories of a friend who has recently passed away, and how the ticket stub becomes a way to speak to them again. Be creative and allow this poem to be strange—maybe even surreal—letting your imagination take control and steer the poem in unusual ways!
And when you have finished your poem, check out our “Submission Opportunities” below as Ginosko Literary Journal is looking for poems with a spiritual bent to them.
Ginosko Literary Journal / Deadline: Ongoing Theme: Poems with a Spiritual Bent Editors: Robert Paul Cesaretti and Karen Bramblett Reading fee: $3 Send up to 10 poems. https://ginosko.submittable.com/submit/968/poetry Simultaneous submissions: Yes. The Citron Review / Deadline: December 6, 2024 Editor-in-Chief and Poetry Editor: Angela M. Brommel Reading fee: $0 Submit up to 5 poems of no more than 30 lines each. https://thecitronreview.submittable.com/submit/10783/poetry-30-lines-or-less Simultaneous submissions: Yes. Ballast / Deadline: Ongoing Editors: Jacob Schepers and Sara Judy Reading fee: $0 Send 3 to 5 poems. Read submission guidelines carefully. https://www.ballastjournal.com/submit Simultaneous submissions: Yes. Cherry Tree / Deadline: October 1, 2024 A National Literary Journal @ Washington College Founding Editor: Jehanne Dubrow / Editor-in-Chief: James Allen Hall Poetry Editor: Alyse Bensel Reading fee: $3 Payment is $20 per contributor and two contributor's copies. Please send no more than 5 poems, https://cherrytree.submittable.com/submit Simultaneous submissions: Yes. The Plaza Poetry Prize / Deadline: September 30, 2024 (Midnight UK time) Judge: Lachlan MacKinnon Reading fee: £10.00 Send one poem of up to 20 lines. There is no theme. They read blind. You can apply for a free entry on their About Us webpage if you meet the criteria: low income, from under-represented groups. The First Prize receives £1000. https://theplazaprizes.submittable.com/submit/296063/the-plaza-poetry-prize-20-lines-max-2024?step=submission Simultaneous submissions: Yes. We RECOMMEND! Miller Williams Poetry Prize / Deadline: September 30, 2024 Series Editor: Patricia Smith Founder: Miller Williams Reading fee: $28 Send manuscripts of 60 to 90 pages. The winner receives $5,000. https://www.uapress.com/millerwilliamspoetryseries/ Simultaneous submissions: Yes. Prestigious Prize and Publisher! APR/Honickman First Book Prize / Deadline: October 1, 2024 Editor-in-Chief: Elizabeth Scanlon Judge: Nicole Sealey Reading fee: $25 Submit a manuscript of 48 pages or more. The prize is open to poets who have not published a book-length collection of poems with a registered ISBN. The prize of $3,000, with an introduction by the judge and distribution of the winning book by Copper Canyon Press through Consortium, will be awarded in 2025 with publication of the book in the same year. The author will receive a standard book publishing contract, with royalties paid in addition to the $3,000 prize. https://americanpoetryreview.submittable.com/submit/2170/apr-honickman-first-book-prize Simultaneous submissions: Yes. Free Mentorship Programs for Poets Over 45+ Without an MFA or Full-Length Collection Thank you Christa Fairbrother for sharing this opportunity. Christa writes: "I'm a reader for Fahmidan Journal in the UK. They are running a free mentoring programs for poets 45+ without an MFA who haven't published a collection. All the details are on their submittable page if you're interested": https://fahmidanjournal.submittable.com/submit
Interview with Muse Community’s Dianne Lynn Knox: Our Senses Are Our Diaries
TSP: Congratulations on the publication of your collection Red Hot Pepper (Dragonox, 2023). This book is separated into four sections: "Living," "Loving," "Losing," and "Looking Forward." Can you speak about the process of organizing this collection and how you made the decision to create these sections?
DK: First, I asked my Editor why I couldn't just alphabetize every poem and call it a day. No, we agreed, readers need some pause between. So, I spread out about 250 hard copies of poems in my dining room, read each of them, editing as I went along. I eliminated a bunch I didn't think were finished enough for publication, then alphabetized the remainder and read again and again. With mechanical pencil and yellow pad, I listed my favorites. I concluded that one section was sufficient, “Living,” they're all about living, and my living is all about loving, so maybe two sections. Then, grief plays a big part in my story, so “Losing.” You cannot leave people without hope, therefore, “Looking Forward.” Although many of them are a stretch to make it into the categories, I decided that's okay.
The whole idea of Red Hot Pepper is to keep jumping no matter what is thrown in your way, no matter how exhausted you are, regardless of who thinks you can't make it or you can't go on. My late husband's lifetime was spent believing you NEVER GIVE UP. My philosophy, too. Maybe that's why we were such a great couple. So, that was my organizing process. No organizing and no process.
TSP: In your poem "What If We Discover," you write, "Touching all of our senses / Uniting our reason for being." The world you created in Red Hot Pepper is full of touch, taste, smell, and sound. Can you speak to the role of the senses in your writing?
DK: How did you pick "What If We Discover" to ask me about? This is one of my faves. Isn't all of poetry about senses? Feeling equals poetry. Thank you for saying Red Hot Pepper is full of touch, taste, smell, and sound, a world I created. That is so wonderful. I am ready to stay home with that thought. Too kind. I was raised with my senses being stimulated with my mother's jersey dresses, her cooking, later with exotic Asian/Middle Eastern/Indian foods/smells/sounds.
Our senses are our diaries. We account particular times and events with our breath and touch, our sight and listening to dialects of rhythm and beat. We are all connected – our DNA, our wanting to survive and thrive, our coping mechanisms. We rim off each other. Some of us pick up on the sounds of others, a vibrating communication, a telepathy and empathy. As a poet, I try to express that energy and hope it is received through my words. You can know something, but when it is also felt, the level of understanding is profound. We each get the poem with a different intensity, so it has different meanings to each person who reads it.
My childhood was full of senses, people, and activity. Music was a huge part. Family dinners with smells and talk. My sisters painting. Looking out the window in deep winter. Hugs, babies, dogs, plucked chicken feathers, yelling, laughter, roller skating, ice rinks, games, weddings, funerals, pressing into my memory, affecting my writing.
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You can order Dianne’s book on Amazon or at the indie bookstore Pacific Mist Books in Sequim, WA or at Port Book and News, Port Angeles. WA. You can also email Dianne directly at: dlknox2018@outlook.com
Find Dianne on: Facebook / Twitter / Instagram
About Dianne: Dianne Lynn Knox started writing "Mysties," short scary stories, with Sue in 7th grade. They were writers! They would be famous or at least their work would be recognized. Dianne continued to write. Sue continued life. Both still recognize talent in each other. Both recognize music in others. Dianne's first major poet-influencer was Edgar Allen Poe. She has a degree from the University of Iowa, worked in Corporate America, traveled extensively, owned a small business, takes daily walks, practices Tai Chi every morning, and loves all things art. Besides Red Hot Pepper, her writing may be found in Tidepools, Poetry Corners, Port Angeles Fine Arts Center's Webster Woods Poetry Plaques, No Jail Can Confine Your Poem (supporting Afghani women in jail for writing poetry), Leonard Cohen Anthology, Spontaneous Writing, and five Olympic Peninsula Anthologies, plus her first published work in Of Toadstools and Russian Olive Trees. Dianne has one perfect daughter and two perfect Grand Girls. She lives in Sequim with her partner, having built a new house near The Strait during COVID.
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For Interview Features: If you are a paid subscriber to the Weekly Muse and have a new full-length collection coming out in 2025 send us a note at (Muse Email) and maybe we can interview you! We love to support and feature our subscribers!
For Questions to the Editors: email any questions you have about writing poems, submitting your work, book contests, etc. to: (Muse Email) and we will choose a question to answer every other week!
Let’s Go Into the Abyss
This week’s journal / creativity exercise finds its inspiration in a fascinating 1939 Irish novel by Flann O’Brien, titled At Swim-Two-Birds, which is a book about a novelist (college student) writing three books, one of which is actually written by a character created by the college student. At Swim-Two-Birds, a book about the process of writing a book, is an example of mise en abyme, a French term that literally means "placed into abyss" and is used in various fields like literature, art, and film to describe a particular type of recursive structure or self-referential pattern—embedding a smaller copy of an image or story within the larger work.
Here are a few examples of mise en abyme:
A Midsummer Night’s Dream: This Shakespearean play has as a central focus, a play within itself about Pyramus and Thisbe—poorly written and poorly acted as perhaps a commentary on some aspects of Elizabethan theater.
Inception: This 2010 movie explores the trippy concept of dreams within dreams as a thief invades people’s dreams to steal valuable information.
The Allegory of Painting: This work by 17th century Dutch artist, Johannes Vermeer, depicts Vermeer himself painting the scene which is depicted in the painting:
As you have probably guessed, this week’s exercise invites you to write a mise en abyme poem, short story, flash fiction piece, or essay in which you create a “mirror effect” for your readers—a poem within a poem, an essay within an essay, a story within a story. For instance:
You could write a poem (story/essay) about the act of writing a poem.
You could write a poem (story/essay) in which you include another poem (that you have also written). Maybe in the poem, the speaker goes to their mailbox and discovers someone has anonymously sent them a poem. You would include this anonymous poem within your poem.
You could write a poem (story/essay) in which you include another poem (see #2 above). But, here is the twist for this option—the anonymous poem, which you will include in your main poem, is about writing a poem. This is the most challenging of the three options—but we encourage you to try it!
Mise en abyme can be a powerful and interesting technique to add depth and complexity to your poems and stories. Your “mirror effect” writing may encourage your readers to think more deeply about the nature of narrative. And, your readers will appreciate the fascinating and mind-bending nature of your piece!
Putting Reed to Papyrus
The earliest known writing instrument was the reed pen, used by the Egyptians around 3000 BCE. These pens were crafted from marsh plants and featured split nibs that allowed for a controlled flow of ink. Egyptian scribes used reed pens to write on papyrus, an early form of paper made from the pith of the papyrus plant. The Egyptians created black ink by blending soot with ochre and binding it with beeswax. Later, colors were developed—red from iron oxide, yellow from ochre, and other hues that combined minerals with plant extracts.
Subscriber News and Inspiration
Lana Hechtman Ayers writes: “I'm delighted to share that I was recently interviewed by poet C.W. Emerson about my just released collection The Autobiography of Rain.” You can watch Lana’s interview on YouTube here.
Susan Rich writes: “I am over the moon to know Maggie Smith has read Blue Atlas and has kind things to say about it. She wrote in her newsletter, ‘Where’s the poetry? you might be thinking. I’ve been reading more prose lately, but I do want to heartily recommend Susan Rich’s latest book of poems, Blue Atlas. If you know her work, you’re one of the lucky ones—and if you don’t, you’re about to become one of the lucky ones. The opening poem, “This Could Happen,” is the perfect invitation, pulling the reader inside.’”
Claire Coenen writes: “Here is a new poem that was published in the Journal of Expressive Writing and is paired with my collage art which you can read here.” (Scroll down to August 3rd to read Claire’s poem)
Diane Funston writes: “The past two weeks I’ve had acceptances from Meat for Tea, Door is a Jar, Chewers by Mastacadores, and a poem I recorded will be read at Poetry in Transit and will appear on a bus. Also made a video of my poetry accepted by Midsummer Dream House that will air soon on their site.”
Lisa Ashley writes: “I'm excited and so pleased that my FIRST BOOK of poems will be published by MoonPath Press circa May 2025!! I was lucky to be chosen as a finalist for the Sally Albiso Award (sponsored by MoonPath). Managing Editor Lana Hechtman Ayers asked me if I would be interested in being published by MoonPath! I'm deeply grateful to Lana and her staff for giving me this wonderful opportunity to bring my poems to a larger world. Stay tuned for a virtual launch next year. All of this is supported by my involvement and subscription to Two Sylvias' Weekly Muse. I'm continually fed by the poetry community I move within and its support of all of us.”
Michael Dwayne Smith writes: “Dear Friends, editor extraordinaire Kathy Kieth at Medusa's Kitchen today is featuring seven new poems by yours truly. Man, do I love cookin' in the Kitchen! Please drop by and enjoy these strange little music boxes, then be sure to peruse the wealth of poetry and inspiration Medusa's Kitchen offers.” You can read Michael’s poem “Delirium is a Bridge” here.
Merna Dyer Skinner’s poem, “She Should Have Lost a Hand” was published in Silver Birch Press and you can read it here.
Annette Marie Sisson writes: “EXCITING ANNOUNCEMENT: My book will be published Oct. 1, but PRE-SALES have now begun at Amazon Books for WINTER SHARP WITH APPLES. Just click here and reserve/purchase your copy and it will be shipped to you on Oct. 1.”
Mandy Hayden writes: “I wanted to share something so special. I was asked to write and perform this week at the college I work at for the President's Address. I wrote my first reverse poem, which I've always wanted to try, about our blind, three-legged rescue dog, focusing on the contrast of despair and hope. It was emotionally charged and I am overwhelmed (in a good way) by the reaction of the audience. I received such positive and loving feedback. Lots of tears and the president himself was all teary eyed and wet-faced! I feel like I just hit a career apex lol. Just a joyous moment of sharing and moving people with poetry, most of those in the audience non-poetry people and I wanted to share it here. It was just so amazing—so much love and support in that room!” —Congrats, Mandy! We loved reading about your evening.
Susan Haifleigh writes: ‘I'm happy to share that I won 2nd place in the Chancellor's Prize category and 2nd place in the Music category in The Peninsula Poets Contest sponsored by the Poetry Society of Michigan. Both poems will be published in Peninsula Poets Autumn Edition. These include a monetary prize as well.”
Pamela Hobart Carter writes: “Only Connect is here! An e-chapbook from Yavanika Press—photos by Robert M. L. Raynard that inspired my poems. Robert lives in London. We e-met in an art history Facebook group. When Covid closed The Tate, where he worked, he began posting images from London beyond the museum and I responded with poems. So grew this project. Thanks to Yavanika Press for choosing Only Connect as a mixed-genre chapbook winner this year.” You can learn more about it or order a copy here.
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Please consider joining our private group of Weekly Muse members on Facebook in order to share your thoughts on writing, your poems, your challenges, your successes, etc. Request to join here:
We would also love to share your successes in the Weekly Muse. Please send along any publication good news to: (Muse Email)
Welcome to September, the Second New Year!
As we mentioned in our intro, September gifts us a “clean slate” in our poetry lives. For many of us, this month aligns with the rhythm of a school year, presenting a perfect opportunity to set new goals and revive our writing practices that may have been paused over the summer.
As you begin this month, think of one subtle change that you could do that would help you write or publish more poems.
Maybe your goal is to submit to one journal every week (that would be 52 submissions in a year!) or every other week (26 submissions!). Perhaps you want to spend less time on Facebook (there’s an app for that!). If you have a MacBook, you can download SelfControl, a free app that allows you to block any websites you may be tempted to visit during your writing period. If you use Google Chrome as your web browser, consider trying the StayFree extension. Another idea is to turn off the Wi-Fi on your computer or even in your home. We also know a novelist who actually locks his phone in a safe when he writes to avoid distractions!
With this new second new year and clean slate of September, feel free to revisit your writing and publication goals, knowing The Weekly Muse will continue helping you find ways to stay inspired and motivated!
Announcing our 2024-2025 Zoom Classes! As a paid Weekly Muse subscriber, you get full access to every class, all included in your monthly or yearly subscription.
It’s back for the 9th year! Our annual (and popular!) Online Summer/Fall Poetry Retreat is open for sign-ups!
Fall session poems will be critiqued by the editors of Two Sylvias. We send you poetry prompts and example poems to inspire your writing—ALL VIA EMAIL.
2024 Fall Retreat Dates:
October 7 - November 3 (October Session)
Space is limited. Please visit our website to register:
Please Note: The material for the fall retreat is the same material as the summer sessions (July and August).
Watch our recent Weekly Muse Zoom Series Classes by clicking on the links below:
Jane Hirshfield: Revision and the Creative Process (July 2024)
Jane Wong: Shadows of Limes and Roses: Memory and Synesthesia in Poetry (May 2024)
Past Zoom Classes: Kelli Russell Agodon—Generating New Poems; Jeannine Hall Gailey—The Art of Promotion & PR for Poets; Maggie Smith—You Could Make This Place Beautiful with Poetry; Susan Rich & Kelli Russell Agodon—Demystifying the Manuscript; Diane Seuss—Modern Poetry; January Gill O’Neil—Line by Line: The Practice of Revision; Susan Rich & Diane Seuss—Reading & Conversation
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Have a wonderful week!
Love your excitement, positivity & encouragement for all your followers and writers! Yes to September for all. Elaine Heveron