How to Put Together a Chapbook

Step #1: Make sure you have plenty of poems/stories to work with. The more poems/stories, the better. Think of it as though you are trying a new recipe, and you want to get it just right. You buy extra eggs, flour, and other ingredients just in case you make a mistake the first time. This applies to your poems/stories because not all of them will work for your manuscript. You want to give yourself as many chances as possible to find the poems that will be most effective for your work as a whole.

Step #2: Categorize your poems/stories by theme/tone/character. Organization is key. Grouping your poems/stories together by a common link will not only give you a feel for how they will all come together, but it will also get you thinking about the main themes you wish to include in your manuscript. Personally, when it comes to my poetry, I feel as though it is necessary to print out all of my poems, spread them across my bedroom floor, and label them with colorful post-it notes. I realize that some people work better with computers, but for me, when it comes to grouping my poems, I need to be more hands on.

Step #3: Weed out the weaklings. I know that it may feel nearly impossible to really know if some of your poems or stories are “good enough” or just “mediocre,” but it gets easier as you go on. Listed below are some very important tips that will not only strengthen your poetry/stories, but will also build on your confidence and your skills as a writer.

• Show your poems/stories to a professor, people in your writing group (if you have one), a mentor, friends, or someone that you can trust to be honest with you. Ask them what works for them, what doesn’t work for them, and how they feel about each piece of writing that you show them. Important: Just because one person thinks that your poem or story is terrible or fantastic, does not mean that everyone will. This is why it is important to talk to a variety of people about what you are setting out to do and to get a feel for your audience. Be open to changes, suggestions, and criticism, but also remember that it is imperative to never lose sight of your own thoughts, feelings, and opinions about your work.
• Read your poems/stories aloud multiple times. You may hear something that needs to taken out, changed, or something that works really well. Sometimes when you read something in your head many times, your eyes skip over what your ears can pick up on.
• Have someone else read your writing aloud to you. Hearing someone else’s voice read your work can make a huge difference in how you feel about your own words.
• Do not go by whether or not a piece has been rejected or accepted anywhere. Just because a particular poem or story worked or did not work for a magazine, journal, or newspaper, does not mean that it will or will not be a good choice for your manuscript.

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Step #4: Keep weeding, but have a number in mind. Poetry chapbooks are small collections of poetry that are generally no longer than 40 pages. For the Young Writer Series, we are aiming for no more than 30 pages.

Step #5: Pick an order. This is where the labeled poems/stories on the bedroom floor can be very helpful. Now that you have your main themes and know how each poem/story falls into a category, you can place them in an order. For longer works, some people decide to divide their manuscripts up into sections, whereas others do not. Also, some people like to spread out various themes, and vary the tone throughout the manuscript. If you are completely stumped as to where to even begin with this process, think of how musicians do it. When you listen to a CD the songs are in a specific order for a reason. Sometimes ballads are sandwiched between upbeat songs, and sometimes the whole album is just somber. Think about how you want your readers to feel when they read your book, and what exactly you are trying to convey. Reading aloud is a very helpful way to literally hear the flow of the poems/stories as they are read one after the other. Also, pay attention to how your eyes feel. Think about what it would look like if you had many long poems and endless prose all clumped together for many pages. And then imagine your short poems/stories being all stuck at the end and not being generously sprinkled in between the longer ones. Variation of poem or story lengths will give your eyes and your reader’s eyes a break for a few pages.

Step #6: Take a walk. Maybe even a vacation. After spending so much time with your poems/stories, you may start to get sick of them. And even if you are not quite to that point yet, chances are you may still need to clear your head. During this time you may want to start to think about a title.

Step #7: Read from start to finish. Do this for a few days. Keep picking it up. Keep reading aloud and in your head. Even read the manuscript from the end to the beginning. Experiment, read, and keep turning the pages.

Step #8: Time to tackle the mechanics of it all. Many collections have an introduction, a biography of the author, acknowledgements, and a list of previous publications.

Introduction: This can be a daunting task, but at the same time it is very exciting. Think of this introduction as a chance to talk straight to your readers and tell them about yourself and your themes. You do not have to be formal here. Have fun with it. Also, once you have a title, you may think about including the explanation of how that came to be in your introduction. You may want to come back to the introduction at the end to add this in. But overall, let people be drawn to your thoughtfulness and creativity. It can also be helpful to read introductions from other poetry collections to give you a feel for them. Usually introductions are about a page long.

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Biography: If you have submitted work to a magazine, newspaper, literary journal, or elsewhere you may be familiar with the third person, cut and dry biography. It usually consists of where you live, what you write, where you have been published, and what you have accomplished. There are many examples of biographies in poetry collections and online.

Acknowledgements/list of previous publications: Acknowledgements and previous publications are usually listed on the same page, depending on how the publisher/editor wants the book to be set up. It is best to keep acknowledgements short and concise, as hard as it may be. Think about the people who have helped you the most, and the mentors that have guided you along the way. As for the previous publications, this only applies if any of the poems in your collection have been published elsewhere. If so, make sure that your information is organized and accurate. You do not need to say which poems have been published where, however. You just need to specify what magazine/newspaper/ literary journal/etc. has published some of the work that is in your collection.

Step #9: Choose your title. Even if you had a title in mind during this process, it is always best to re-examine it after you have finished putting everything together. Your themes and ideas may have shifted at this point, and you want to make sure that you are 100% happy with your title. For some people, including myself, coming up with a title is the hardest part of the entire manuscript. So, what do you do when you are stuck?

• Read the entire manuscript aloud from start to finish again. (You should do this even if you already have your heart set on a title.) A line, a poem/story’s title, or something in between may jump out at you.

• Talk to a friend or a loved one about your ideas. Sometimes the people we are close to can help us see something that has been right in front of us all along.

• Rest well and always keep a notebook next to your bed. A title can creep into your mind as you are drifting off to sleep, in a dream, or the moment you wake up. Keep your mind relaxed, and give yourself a break once in a while.

Step #10: Send it to me and I will give you my comments and suggestions. After the final edits, we will send it to Doug Holder.

In your case, you are very lucky. Ibbetson Street Press has published award-winning poets and writers and is held in high regard amongst the small press community. Now you get your chance!

 I know this whole process is a lot of work. But guess what? You will have a book. A book

Edward Arlington Robinson

 https://www.youtube.com/watch?v=hlrBpTgPnlk&t=251s

First draft of poem

 Black streets, slick and gleaming,

neon signs, a blurred, wet dream.
Rain drums a rhythm, on the glass,
tires hiss, as shadows pass.
Streetlights halo, in the haze,
a lonely hum, in the city's maze.
Reflections waver, a distorted view,
of a world, washed clean and new.

Night Hawks

 https://www.edwardhopper.net/nighthawks.jsp#google_vignette

City Streets

 

subject of "city rain at night."

1. Inspiration and Brainstorming:

• Subject: City rain at night.
• Initial Thoughts:
  • The contrast of light and dark.
  • Reflections on wet asphalt.
  • The sound of tires on slick streets.
  • Neon signs blurred by rain.
  • A sense of isolation or intimacy.
  • The feeling of movement and stillness simultaneously.
• Sensory Details:
  • Sight: Blurry neon, wet black streets, distorted reflections, the halo of streetlights.
  • Sound: The hiss of tires, the drumming of rain, distant sirens, the hum of the city.
  • Smell: Wet asphalt, ozone, faint exhaust.
  • Touch: Cold, damp air.
• Emotional Notes:
  • Melancholy, a sense of urban solitude, a feeling of being in a liminal space.

2. First Draft (Free Verse):

Black streets, slick and gleaming,
neon signs, a blurred, wet dream.
Rain drums a rhythm, on the glass,
tires hiss, as shadows pass.
Streetlights halo, in the haze,
a lonely hum, in the city's maze.
Reflections waver, a distorted view,
of a world, washed clean and new.

3. Revision and Refinement:

• Focus on Imagery:
  • Replace generic words with more evocative ones.
  • Add more sensory details.
  • Strengthen the metaphors.
• Rhythm and Flow:
  • Adjust line breaks for impact.
  • Consider the pacing of the poem.
• Emotional Depth:
  • Enhance the feeling of isolation and the liminal space.
• Revised Draft:

Obsidian streets, slick with liquid light,
neon ghosts, a blurred and trembling sight.
Rain's sharp percussion, on the window pane,
tires whisper secrets, in the soaking lane.
Streetlights bloom, in halos, soft and dim,
a lonely pulse, within the city's whim.
Reflections dance, distorted, in the black,
a fleeting world, on rain-washed asphalt's track.

4. Final Touches:

• Title: "City Nocturne" or "Rain-Washed Streets"
• Final Poem:

City Nocturne

Obsidian streets, slick with liquid light, neon ghosts, a blurred and trembling sight. Rain's sharp percussion, on the window pane, tires whisper secrets, in the soaking lane. Streetlights bloom, in halos, soft and dim, a lonely pulse, within the city's whim. Reflections dance, distorted, in the black, a fleeting world, on rain-washed asphalt's track.

Key Observations:

• The first draft is a starting point, not the destination.
• Revision is crucial for creating a polished poem.
• Sensory details and strong imagery are essential for engaging the reader.
• Paying attention to rhythm and flow enhances the poem's impact.
• Titles can add another layer of meaning.

Walt Whitman

 https://www.youtube.com/watch?v=ilBtNk_Ge9Q

The Misfit

 https://www.youtube.com/watch?v=Uamq_ZZW3Vk&t=90s

How to write a short story

 Brainstorming and Idea Generation:

• Start with a Spark: A single image, a conversation overheard, a "what if" question, or a strong emotion can be the seed of your story.
• Focus on a Single Incident: Short stories typically center around one main event or conflict. Avoid trying to cram in too many plotlines.
• Explore Character: Consider a character with a specific desire, flaw, or problem. What are their motivations?
• Think Theme: What underlying message or idea do you want to convey? This will add depth to your story.

2. Planning and Structure:

• Keep it Concise: Short stories are, well, short! Aim for a tight, focused narrative.
• Choose a Point of View: First-person, third-person limited, or third-person omniscient? The POV will affect how the reader experiences the story.
• Outline (Optional): A simple outline can help you organize your thoughts and ensure a clear progression. It doesn't need to be extensive, just a few bullet points to guide you.
• Classic Structure:
  • Exposition: Introduce the setting, characters, and initial situation.
  • Rising Action: Develop the conflict and build tension.
  • Climax: The turning point of the story, the moment of highest tension.
  • Falling Action: The consequences of the climax.
  • Resolution: The conclusion, where the conflict is resolved (or not).

3. Writing the Story:

• Start Strong: Grab the reader's attention from the first sentence.
• Show, Don't Tell: Use vivid descriptions and sensory details to bring your story to life. Instead of saying "he was angry," show his clenched fists and flushed face.
• Develop Characters: Even in a short space, give your characters depth. Reveal their personalities through their actions, dialogue, and thoughts.
• Use Dialogue Effectively: Dialogue should move the story forward and reveal character.
• Build Tension: Create a sense of anticipation and suspense.
• Pay Attention to Pacing: Control the speed of the story to maintain reader engagement.
• Create a Satisfying Ending: The ending should feel earned and leave a lasting impression. It doesn't have to be a happy ending, but it should be a meaningful one.

4. Revision and Editing:

• Let it Rest: Put your story aside for a while before revising. This will give you fresh eyes.
• Read Aloud: This helps you catch awkward phrasing and grammatical errors.
• Focus on Clarity and Conciseness: Cut out unnecessary words and phrases.
• Check for Consistency: Ensure that your characters, setting, and plot remain consistent throughout the story.
• Proofread Carefully: Correct any spelling and grammar errors.
• Get Feedback: Share your story with trusted readers and ask for their honest opinions.

Key Tips for Short Stories:

• Focus on a single conflict.
• Develop compelling characters quickly.
• Use vivid language and sensory details.
• Create a strong sense of place.
• Build tension and suspense.
• Craft a satisfying ending.

MISFIT

 https://www.youtube.com/watch?v=Uamq_ZZW3Vk&t=841s

Points for Middlesex community college grass roots

 read, read, read

grass roots

started magazine when wife was sick

developed a community of poets   bagel bards

newspaper column

poetry series

cable tv

published books

NEPC

Friends of Longfellow

How to submit

find out something about magazine

start to small lit zines

as you get practiced better

go to open mics

campus lit magazine

start your own TV show

ideas for writing

 PLACES TO LOOK FOR IDEAS:

 Powerful personal experiences [“No tears in the writer, no tears in the reader”]:

o Love relationships with parents, siblings, girlfriends/boyfriends

o Significant conflicts the people above of others you’ve encountered

[My essay, “In My Father’s Tears,” based on an argument with my Dad]

o Loss of a loved one

o Betrayal by a friend

o People who had/have a poweful influence on you

o Colorful people you’ve encountered

o Significant disappointments

 What if scenarios, personal or societal:

o What if that man/woman I was attracted to had returned my call?

[What if Paulette had really meant it when she suggested we get married?]

o What if I grown up with a very different family or in a very different place or in a very

different time in history?

o What if I had been at significant historical events: the Twin Towers on 9/11, the attack

on the capital on January 6, the invasion of Europe at Normandy in World War II, etc.?

o What if someone I was close to had died when I was young?

 The experiences of others you know, where you put yourself in their place and tell the story of

what happened, imagining what the experience was like

[My play about acquaintance whose kitchen burned up and had to live in a tiny apartment with

his wife and daughter for months] [Kinsella writing about Canadian Indians]

 The experiences of historical characters in dramatic situations

[My novella about Rilke and Rodin]

Not well my , ass

 https://www.youtube.com/watch?v=Z3oLFDCy37s

Review of Bullshit

 https://www.youtube.com/watch?v=UGhMdtarQUk

Conflicts in bull shit

 In "Another Bullshit Night in Suck City," Nick Flynn grapples with several internal and external conflicts:

Internal Conflicts:

• Identity and Self-Worth: Abandoned by his father at a young age, Flynn struggles with feelings of inadequacy and abandonment. He questions his own identity and worth, particularly in relation to his father's reappearance in his life.
• Addiction and Self-Destructive Behavior: Flynn battles with substance abuse, mirroring his father's struggles with alcoholism. This internal conflict highlights his struggle for control and his attempts to escape from his emotional pain.
• Fear of Becoming His Father: Flynn fears that he will follow in his father's footsteps, succumbing to addiction and homelessness. This fear drives his internal conflict as he tries to differentiate himself from his father while simultaneously understanding their shared struggles.

External Conflicts:

• Relationship with his Father: The central conflict of the memoir revolves around Flynn's complex relationship with his homeless father. He struggles with feelings of resentment, anger, and pity towards his father, while also seeking connection and understanding.
• Working in a Homeless Shelter: Flynn's job at a homeless shelter exposes him to the harsh realities of poverty, addiction, and mental illness. This external conflict challenges his perceptions of homelessness and forces him to confront his own privilege and vulnerabilities.
• Society's Perception of Homelessness: The memoir highlights the societal stigma and indifference towards homeless individuals. Flynn's interactions with the homeless population challenge these perceptions and shed light on the humanity and resilience of those living on the streets.

Through these internal and external conflicts, "Another Bullshit Night in Suck City" explores themes of family, identity, addiction, and the complexities of human relationships in the face of adversity.

Combat Zone

 https://www.facebook.com/watch/?v=996721227802770

Memoir Writing Video

 https://www.youtube.com/watch?v=qw2U42FoZls

King Lear

 https://www.youtube.com/watch?v=zn955417swY

Luis T

 https://www.youtube.com/watch?v=dWFnt3UA__g

King Lear

 https://www.youtube.com/watch?v=FBSnaLUROYY

Nick Flynn interviewed

 https://www.youtube.com/watch?v=24ZUfriqLv8

At the Apartment

 https://www.wsj.com/video/film-clip-being-flynn/BB8084BC-9C4A-4D2C-A6CB-2BA46DC64586

You are me

 https://www.youtube.com/watch?v=dZYf1OiVsrY

The Artist

 https://www.youtube.com/watch?v=nm0IVarndOAhttps://www.youtube.com/watch?v=nm0IVarndOA