Jesica Carson Davis & Nawal Nader-French
When the editors met at The Dikeou Pop-up gallery on Colfax we didn’t know what to anticipate. We've heard great things from writers like Steven Dunn, who recommended it as his favorite Denver art and literary space in our interview with him. Still, we wondered if it would be the right spot for the journal launch. Upon visiting, the Dikeou Pop-up gallery felt like the perfect spot to celebrate launching the first print issue of Inverted Syntax because like us, it’s scrappy but extensible.
“Located in the former Jerry’s Record Exchange storefront, Dikeou Pop-Up: Colfax is an extension of the Dikeou Collection and offers an alternative art experience in the heart of Denver. Work by artists Lizzi Bougatsos, Sarah Staton Supastore Supastars, Rainer Ganahl, Anicka Yi, and Devon Dikeou is on view at this location. The Dikeou Collection’s vinyl, laserdisc, and CEDs are archived here. Please see the Events section of the site to find information on upcoming programs at Dikeou Pop-Up: Colfax.”
It takes a few minutes to get settled into the space but once you do, it quickly becomes that perfectly sized event hall you wish you had had access to in the 90s. The space feels very liminal: a hybrid place for showcasing art, but also a celebration of words and full of music: party attendees are encouraged to pull one of the thousands of records that remain from the gallery’s former life as a record store and play them during the party!
When we say we’ve got an exciting line-up of readers, we’re not kidding: poets, novelists, essayists, and uncategorizable writers (see the list below). These extraordinary humans are gathering to read to us, to wash us with words, to cleanse us, wake and restore us to the art form we are meant to be. You’ll be entertained, engaged, and you will leave feeling inspired.
Arrive at 6 for appetizers, drinks, and lively conversation; the readings begin at 6:45 with another break in between — we want everyone to meet and mingle, to build community. The event is free and open to all.
Come party with us!
Featuring readings by :
ANDREA REXILIUS | ERIC BAUS | KATHY FISH |
JEANINE PFEIFFER | JESICA CARSON DAVIS
And the one and only Levi Andrew Noe will emcee!
Come soak up Music, Drinks, Appetizers, and All the Words
Dikeou Pop-Up: Colfax
It’s FREE, FREE, FREE and OPEN to the PUBLIC.
About the Readers:
The Writing (Submitting) Life
By Ginny Short
Submitting work for publication is a daunting process for many writers, and one that each writer must find their own way around. In this post, poet Ginny Short shares the process she went through when she first started submitting during her time as an MFA candidate at the Mile High MFA program at Regis University, and offers guidelines for how writers can make submitting a part of their own writing practice.
For me, overcoming my fears of submitting my work to journals meant starting small. l started by looking at journals that I liked, ones that published nature or ecological themes, which I often wrote about, and journals that published the work of poets that I like. I found The Avocet, a small nature poetry magazine that I decided to submit to. It had the advantage of having published, at one point, the work of Mary Oliver, one of my favorite poets. I decided not to aim big at first: no New Yorker — in fact, no big-name magazines at all. I went for smaller, cozier, lesser-known journals, both in print and online. I did get some rejections, but I was also accepted into two! Those acceptances were enough to give me the courage to keep trying, and led me to one of my first important “lessons learned”: how to own my work.
In my first summer in the Mile-High MFA, I decided to try submitting some of my tanka poems. Sometimes defined as “five phrases on five lines,” tanka is a Japanese form that has a strong imagistic approach connecting human emotions with nature imagery. In particular, I like a form called tanka prose – essentially a prose poem accompanied by a tanka. I submitted several of my favorites to Ribbons, the journal of the Tanka Society of America. A while later, I got a lovely rejection letter --not a form letter, but a personal one, where the editor made comments and gave me advice about the poems, then thanked me and said “not this time”. Her suggestions seemed reasonable (although I was a bit unsure), so as part of my poetry semester I rewrote and submitted the poems as part of one of my assignments. I told my faculty mentor what the editor had suggested, and he read them. His advice back to me was essentially that he disagreed with the editors; he felt that by making the suggested revisions, I had taken the heart out of the pieces. After a long talk with him, I realized that it wasn’t about whether my poems were good or bad, but whether this journal was the right home for these pieces. There was nothing wrong with what the editor asked, but it did not reflect what I was trying to do.
I learned that the trick in publishing is finding the right home for my work, and realizing that, in the end, it is my artistic decisions that matter. This makes rejection less painful; after all why would I want my heart to be laid open for someone who doesn’t want to see it, or wants me to change it substantially for them to like it? It is not always easy to discern what should stay and what should go, but following my voice has never set me wrong.
Between fears of rejection and the challenge of staying true to your work, submitting can be daunting. But we don’t need to let it be. Instead, we can see it as part of our writing practice. Bring to it the same attention and awareness that you do writing the piece.
There are a few guidelines I have found that help in the submitting aspect of my writing practice:
First: read widely. By perusing the many journals and websites that offer a platform for your work, you will have the pleasure of being exposed to dozens of writers, and many, many pieces of work you might not have encountered otherwise. I find that this enriches my own writing; exposure to other writers’ works is critical.
Second: peruse the website of a potential journal. There will be clues within its pages, both subtle and overt, that might help you determine if your work would be a good fit. Read any sample pieces you can find. Do you like what you read? Can you see your piece sitting next to that one you just read? Most journals have some samples available on their website. Some tell you authors that they like. Pay attention. Browse through them. Enjoy. Savor.
Third: follow their guidelines. They will tell you how many words or pages to submit, the subject matter they are interested in (sometimes they have a theme) and what, exactly, they want. Do follow directions. It may not get your work in, but it will prevent your manuscript from being thrown on the editing floor before even being considered. So, read, pay attention, follow directions. Simple but important.
Fourth: keep track of what and where you are submitting. Some journals ask that you do not submit to another journal while they are considering your work (although I find this is rare), others don’t care (but you should let them know if a piece you submitted is accepted elsewhere). Start a regular submissions log using Excel or Word or a lovely handmade ledger.
However you do it, keep track of both rejections and acceptances. You are in good company; own them with pride. Golding's The Lord of the Flies was rejected 20 times before being accepted. Gertrude Stein submitted poems for 22 years before having one published. (YIKES!) Beatrix Potter self-published The Tale of Peter Rabbit. Rudyard Kipling was told he did not know how to use the English language. Who knew?
The poet Andrea Rexilius (1) used transfer paper to print all of her rejection letters on a slip…and she wore her rejection slip! Check out this post for more other famous people who experienced rejections for their writing. It will make you feel better, guaranteed: you are in good company.
Getting published takes persistence. Don’t give up.
Fifth: don’t be discouraged. (See paragraph above.) It is a matter of luck, being in the right place at the right time, and submitting often. Having good work is only a part of it. Remember that all rejections – and for that matter comments or critique – are subjective. I have several pieces that were reviewed by three or more people and got three very different responses. You have to keep submitting. It is not a reflection of your work that you get rejections. Fiction writer Rachel Weaver (2) offered advice early on in the MFA program that I always remember: if more than one person gives you the same advice, pay attention. Go back. Revise. But in the end, you are your own creative director.
Sixth: set yourself a goal. Set aside one evening (or morning if you are a morning person) and plan to submit at least one piece on that day. My goal is to submit at least once a week. You can set your goal according to your time. For novel or memoir writers, there are also places that accept excerpts of novels, novellas or longer bodies of work, like A Public Space, Missouri Review or Literary Mama. Or maybe you have some shorter pieces, short stories or flash fiction you can submit. Whatever you have ready to submit, just set yourself a goal and do it. Learn to see submitting as part of your writing practice.
I’ve followed these guidelines, and this is what it looks like for me: My goal is to submit at least one piece a week (I make it a rule to submit two pieces for every rejection). I am trying out all sorts of journals, even ones I know are a long shot because, well, you just never know. The process of submitting is educational. You discover artists that you never knew you loved, and you begin to see yourself as a contender.
There are a plethora of journals out there and discovering where to submit can be daunting. I used Duotrope which is a searchable subscription service that catalogs dozens of journals for all genres. Access is $5 a month and it has been worth it to me. My submission log keeps me hopeful: I currently have 35 rejections, 17 acceptances, and one poem republished in the “best of 2017” category for that journal as well. I have four essays and 15 poems being reviewed. It isn’t going to happen by magic, getting published that is. It’s going to happen by submitting work.
This week I received two letters: one was a form rejection, the other wrote that they “adored” three of my poems, which will be published in the November issue of Mojave River Review. I couldn’t be happier. Well, getting my first book published might make me happier. It’ll only happen if I submit it. I am working on that. Not that long ago, I had nothing being rejected, reviewed, or accepted, because I wasn’t submitting anything at all. You cannot predict if your work will be accepted or rejected but know that, either way, it is about taking a chance and submitting, because you never know what that journal needs at that moment. So, take heart. At times it may seem that no matter how much you think your piece might fit in, they will disagree. Then sometimes when you least expect it, they love it. The point is, if you arrive at a place where you can own your work, you’ll always feel motivated to submit.
1. Dr. Andrea Rexilius is the program coordination and Poetry faculty mentor at the Mile-High MFA program at Regis University. She is the author of five books of poetry.
2. Rachel Weaver is the author of Point of Direction and a faculty mentor for fiction at the Mile-High MFA program at Regis University.
A Record of an Inverted Retreat
by Jesica Carson Davis
The urge to create is fundamentally human, whether we write poems, sing songs, or paint pictures. Creation is a form of record keeping, one way of saying I was here, this happened. In an attempt to capture some of the magic I got to experience as Editorial Assistant at Inverted Syntax’s first staff retreat, I present here a record of what it was like to be at the beginning stages of an exciting project, meeting the other editors, finding our own way together. Inverted is a journal about exploring hybrid forms, finding out what happens when we go outside the given lines.
Our Founder/Editor-In-Chief, Nawal Nader-French, had planned a full agenda in which the primary purpose was to work on Inverted’s first online and print editions. However, the retreat weekend up in Boulder County was balanced out by fun, creative events, such as a poetry workshop, meditation time, a painting session, video calls with other editors and writers, and of course, writing. There wasn’t anything on the agenda specifically about team-building and camaraderie, but those were some of the best outcomes of the weekend.
The other Inverted editors knew each other from Regis University’s Mile-High MFA program, but I’d never met any of them in person (though we’d had plenty of communication over email and Submittable--the digital platform we use to track submissions). This could have been nerve-wracking, but immediately upon arrival, Nawal made me feel beyond welcome in her gorgeous home with thoughtful gift-filled tote bags and conversations about poets we both admire. The other Editorial Assistants, Melanie and Allissa, greeted me with warm hugs, and soon enough we were all bonding over wine and a massive welcome dinner. Melanie, a nonfiction writer, drove in from Oklahoma, and Allissa, a poet, had driven in from south of Denver, so we all appreciated the decompression.
Friday evening we attended a local poetry workshop at the Firehouse Art Center in downtown Longmont. Getting there became an impromptu team-building adventure after we discovered someone’s notebook had been left on the car’s rooftop and we had to work together to retrace our path, joining forces to find it. Luckily, it was recovered and still intact; the tire treadmarks gave it extra character. The workshop itself was a quietly meditative experience in which attendees got a prompt (write 10 lines about “Home” and then edit them based on a series of suggestions), followed by everyone reading their work and giving each other feedback.
Though we knew that Saturday would be starting early and packed with activities, we all stayed up past midnight talking about life, getting to know each other better, playing with Nawal’s adorable beagles, and sometimes even discussing writing.
Saturday morning began with a guided meditation led by Melanie, who teaches yoga and has a perfect voice for leading such an exercise. I’d thought the meditation lasted about 15 minutes, and was stunned when she told us that it was closer to 50. A focus on the creative chakras and Melanie’s guidance put us in an open mindframe and made us more receptive to creativity, ready to read, organize, and assemble upcoming issues.
Nawal opened up the day’s editorial duties by proclaiming that “We are rewriting the rules,” setting a tone of freedom without expectations, which we ran with. Since Inverted Syntax is a new journal, there isn’t an inherited, existing framework to adhere to; we can make new decisions as we go.
The next 30 hours passed in a blur of reading, conversation, and good times: When we began assembling the online and print magazines, Nawal encouraged us to look for themes, such as boundaries, disruption, and relationships.
A video call with Andrea Rexilius, a poet and Program Coordinator for Regis’s Mile-High MFA, confirmed this approach: consider the journal’s layout like you would organize a manuscript. Stay open to a narrative arc, or consider folios (chapters within the journal), which will be subconsciously informed by our aesthetic and the pieces we’d already selected for publication.
Thus, we spent Saturday morning reading each accepted piece and writing down three or four keywords (like tags or metatdata) for each piece, simple descriptions of themes. Later, when reading the pieces aloud, we compiled a list of the most common keywords that would be used for grouping. It became clear that many of the pieces we’d selected were linked, through tone and imagery, sometimes even subject matter. These links weren’t consciously intended, so it was cool to see them appear as we read.
One of my favorite parts of the weekend was sitting in a circle, reading accepted work out loud to each other. We savored favorite lines, sometimes gasping, getting goosebumps and tears from being moved by pieces we’d read before. It was a gorgeous reminder of how art can break against you again and again, like a wave, how delicious it can be to get drenched.
Throughout the weekend, we kept up a lively discussion about the differences between publishing online or in print. We talked about how a piece posted on the internet has a better chance of reaching many more people than one that’s perfect-bound and physically distributed. How some pieces feel more urgent, like witnessing refugee experience, and thus should be published in a way that gives them a chance at the greatest possible audience. How online issues have a spatial advantage over ink: a 25 page piece would take up a quarter of the print version but can unfold at length on a website, without restrictions. How lucky we are to have both routes available to us now.
We skimmed dozens of print and online journals, charting what we liked and didn’t like, to stimulate discussion. We covered everything from the table of contents organization and serif vs. sans-serif fonts to letters from the editors and placement of contributor bios. The exercise made my tech writer brain begin to assemble a style guide to capture the editors’ decisions on pressing issues, like whether to use indentations or line breaks for paragraphs and how capitals would appear in the titles of pieces. Writing our own rules as we go.
It is exciting and a little intimidating to realize that since Inverted Syntax is a new journal, there’s no formula for how to run it; we can collectively decide the best way to do things, find ways to make the form best fit and reflect the content. For example, while some Editors-in-Chief wait until their readers finish going through the slush pile to narrow pieces under consideration, Nawal was in Submittable for hours every day looking for new work. Instead of sticking to one genre, readers were encouraged to provide feedback on submissions in every category. After all, Inverted’s mission centers around hybridity.
As the day grew long, we decided to skip a yoga session in favor of tea time, and to keep working, though a dance party broke out because we needed to reinvigorate. A sense of urgency began to set in: the retreat will end soon and we will disband in the morning, so let’s make the most of our time together.
Soon it was getting dark, and it was time time for a video call with David Hicks, the Co-Founder and Co-Director of the Regis Mile-High MFA. After some discussion of the retreat life and what we’d been up to, he generously invited all of us to attend one of his writers’ retreats next spring! As part of the support that Inverted Syntax receives as a journal partly supported through The Mile-High MFA, the retreat invitation included a personal manuscript consultation, for those of us working on our own books. It felt like winning a small fellowship.
Once we hung up, it hit us that we’d been at it for almost 12 hours, and that we were approaching the end of our productivity. It was time to pour wine and take a break. Canvases and paints appeared, Nawal’s Ghanaian-influenced curry released its enticing aroma from the stove, and we finally put our work aside. I’m still thinking about that curry, topped with tomatoes, onion, peanuts, banana.
As we unwound from Saturday by collaging and painting with acrylics, we took turns reading from our own work, pieces that not many others had yet heard. Reading poems-in-progress felt like making proclamations: I am here, I made this. Creating and sharing art as a way of raging against, or embracing, the void.
Sunday morning rolled around, and once again we collectively decided to forgo physical activity (a planned hike) in favor of focusing on the journal. There was still so much to do! By then we were fresh enough to want to keep working but brain-drained enough from the previous day to take a break from the creative side, which meant focusing on marketing and logistics.
We discussed our wish list, dreams for the future: possibilities of a local reading series, the AWP conference, poetry contests, maybe even another retreat someday for other writers. Then we pivoted towards administrative duties and deadlines, playing with design for the online issue and entering pieces onto the draft site in advance of October’s online publication.
Too soon, it was time to go home.
Being at the start of something, being part of an endeavor’s nascent phase, feels exhilarating. There is no rulebook, and we are not writing one so much as recording our choices, creating documentation.
Most writers and artists are compelled to some kind of record-keeping, including sculpture, comics, poems, and songs. To create something is to cheat death a little: this thing you make may outlive you, if only on a bookshelf, or in someone’s memory.
As a record of the retreat weekend, I offer this account. For the future, we will create Inverted Syntax.
by And Schuster
When I first started writing creative nonfiction earlier this year, I panicked. I am a person who likes to solve a problem, to tick a box, to arrive. I am at my most satisfied when I have completed something, or at least achieved a portion of what I set out to do. Similarly, in writing poetry and fiction, I like to get to a point that I can call it good enough, send it off, and all is well. But when it came to writing nonfiction, I found I couldn’t do that; letting it go, even if to only one or two people, didn’t feel like ticking a box or solving a problem. It felt like exposing parts of myself and parts of my mental and emotional processes that I wasn’t sure I wanted anyone to see--those thoughts and attitudes I experienced but which I was afraid to commit to in writing. I couldn’t hide behind the guise of a character or a voice not my own, as I sometimes did (or could plausibly claim to do) in fiction and poetry. It was painful, and I was ready to quit.
At first my nonfiction work only existed as side notes to the novel I’m working on while I attend the Mile-High MFA program at Regis University. As I wrote parts of the novel, thoughts and memories would arise, and I felt compelled to stop to write them down before continuing with the book. After doing that several times, I thought that maybe those side notes could become works of creative nonfiction. However, I knew very little about how to go about doing that, so I decided to learn. I signed up for a dual-genre study, with creative nonfiction as a secondary genre, and began to work on my first piece for submission to the workshop. Writing creative nonfiction allowed me to directly address my experiences, which was refreshing, but it also left me feeling raw and exposed in a way I hadn’t expected.
In creative nonfiction, I am learning, the writing process and the mental and emotional processes of the writer are often one and the same. As Brenda Miller and Suzanne Paola explain in their creative nonfiction textbook Tell It Slant, “As you write [creative nonfiction], in a sense, you re-create your own past and your sense of self, and you do so in front of a live audience, over and over again.” In other words, the process of our becoming--the mental and emotional development that is usually kept private or only shared with those closest to us--becomes part of a nonfiction writer’s work and thus becomes accessible to anyone who reads it.
With my love for all things tidy and complete, the thought of exposing the mess of my process to another person, let alone one I hardly knew, was terrifying. During my first several attempts at writing creative nonfiction, this fear nearly paralyzed me. I thought, as we often (and usually mistakenly) do, that I was alone in my fear. When I finally went to members of my writing community with my concerns, nonfiction writer and faculty mentor Kathryn Winograd gently but firmly told me that creative nonfiction is about “the messy process of the mind, not about the neat, pat answer,” and that fear and discomfort over facing and exposing that is sometimes part of the deal. My adviser and poet Andrea Rexilius suggested that I step back and hybridize to give myself a little of the cover that fiction had been providing me.
I took the advice of both mentors, and, slowly, it helped. Telling myself that, if I needed to, I could hide parts of my process by retreating to fiction freed me up to put on paper what I wanted to say without the immediate fear of being exposed. Reminding myself that every writer has a messy process, and that one of the points of the creative nonfiction genre is to explore and capture that process, gave me the courage to stay in it.
In Writing Down the Bones, Natalie Goldberg warns us that “it is important to remember we are not the poem.” She reminds us to “stay fluid behind those black-and-white words. They are not you. They were a great moment going through you. A moment you were awake enough to write down and capture.” Human experience is infinite, and words will never be able to capture the entirety of a person’s existence, or a character’s, or a moment’s.
I am slowly learning to let my work stand on its own--to let it be a moment, a perspective, a snapshot of a specific time and a specific place--rather than expecting it to represent me permanently and in entirety. I’ve had to learn that, just like in life, I will never be able to tick all the boxes in my writing, or to wrap up my thoughts in a complete and tidy package. This perspective makes me more willing to embrace and disclose the mess of my process.
It is both a frustration and a relief that I can write until the end of time and never capture it all. The boxes will never all be ticked, the problems will never all be solved, and I will never completely arrive. I try to remember these things now when I still feel anxious about exposing my process via writing. The words may be mine, and they may be a reflection of a moment through my perception, but they are not me. I am made up of infinite moments captured and uncaptured that can never be fully rendered in art. Ultimately, I’ve decided (see how I wrapped that up neat and tidy, there?) that I’m okay with this, partially because it’s an unavoidable part of life so I kind of have to be, but mostly because that’s exactly where the most lively and interesting parts of writing--and life--happen: in the exploration, the uncertainty, the mess.
Resources and Additional Reading:
“Writers on the pain of hindsight in publishing”
Natalie Goldberg, Writing Down the Bones
Brenda Miller and Suzanne Paola, Tell It Slant (creative nonfiction anthology and guidance)
Kathryn Winograd’s website
Andrea Rexilius’s website