Okay, this question has been coming up a lot recently in the comments section of this blog: What counts as previously published? And, in relation to this blog, does posting a poem in the comments of this blog mean it's "published"?

Before I begin, I think it would be beneficial for you to read this post from former co-blogger and Poet's Market editor Nancy Breen about the whole publishing question in "Published is Published!"

For Individual Poems

Many editors consider anything published anywhere at any time under any circumstances as published. This can even include public readings. And if a publication specifies what they consider published in their guidelines, it would behoove a poet (or any writer really) to respect the editor's considerations.

With such editors, a poem posted anywhere counts as publication, whether it's posted in a public forum or blog, or even a private, password-protected location online. In such cases, poems posted on this blog would be considered "previously published." However, there are editors who take a slightly different view.

Some editors consider a poem unpublished if it only displays on a personal blog and/or is in a "draft" form in a forum or blog. That is, if your poem on Poetic Asides is only a rough draft and not the final version, it would not be considered "previously published." If editors do not specify what they consider previously published, there's a good chance they fall into this camp.

For Poetry Collections

Except for rare cases, most editors/publishers of poetry collections accept previously published poems as long as the collection itself has not been previously published. Actually, the fact that poems are previously published usually helps in getting the collection published. That said, do NOT try to use poems posted on a personal blog or public forum as a publishing credit. Such credits hold little weight, since there is usually no screening process, because eveyone can get published.

My main point here is that individual poems that are considered published by journals can still be considered unpublished as components of a poetry collection. And that even individual poems that are considered published are welcome in "original" collections of poems.

In fact, "new collections" can be made from selecting poems from previous full-length collections and chapbooks.

So, How Should Poets Proceed?

Armed with your knowledge of what is and is not considered published, you've just got to pick your battles and act accordingly. For instance, most of my poems are not published on my blog, because I want to have as many publishing options available to me as possible. I share drafts of these "unpublished" poems with close poet friends to solicit feedback for revisions.

The poems I post as parts of prompts, I consider "published," though I would not use it as a publishing credit if I tried including any of them in a collection, because I also consider my poems on this blog to be "vanity publication credits." I make an informed decision to write a poem a week just for the act of creation.

Considering how much money most published poets make anyway, I don't view this as such a bad decision. But every poet has to make this decision on their own.

TanyaB--one of my friends on Facebook--recently sent me some poetry-related Q's she'd like addressed on the blog. One series (of three) had to do with editing. So, I'm going to list the questions below and try to answer them the best I can. Any blog readers who have a different take are more than welcome to contribute their thoughts in the comments (even if you completely contradict my advice, I'm always open to the possibility of being wrong). :)

Btw, these questions have to do with editing your work.

How do you get started with the editing process?

As far as I'm concerned, the editing process is sometimes going on as early as the actual first draft when I'm deciding what to write. But that said, I often try to just write and let ideas and images come out. When I do this I can sometimes start editing as soon as I finish the draft, but more likely I'll have to let the draft sit for some period of time before revisiting. That period of time could be anywhere from half-an-hour to several weeks (or longer). That's why I copy all my poems down into notebooks--so that I can always revisit old ideas and develop into new pieces if the mood strikes.

There are many things I look for when I revise, but those are based off comments I've received over the years about things I tend to do with my writing. For instance, I try to eliminate the word "it"--unless I can justify its existence. And I prefer active verbs over passive verbs, etc. Also, I read over the poem for rhythm and examine the poem to see if I can give it structure without sacrificing the meaning or flow. And there are many other things--someday I may write a book on them all.

How do you know when it's finished?

A poet friend of mine likes to say that a poem is never finished, and I tend to agree. I mean, look at Leaves of Grass by Walt Whitman--it went through the revision process until there was a "deathbed edition." There's no perfect poem; therefore, you can always play around with them. When you can't find anything new to do to the poem, though, it's usually a good time to try submitting it. If it's accepted, great. If it's rejected, the time apart from the poem may give you new ideas on ways to play with it.

Should you hire an editor or just go with your gut?

I think poets need to develop their guts; I also think poets should never hire an editor. In addition, poets are served well by developing relationships with other poets who can help critique their work. And the critiquing should go both ways. The process of thinking about what works and doesn't work in another's poems can be very beneficial if you then look for similar flaws in your own work. And the feedback you receive from other poets will give you the opportunity to defend your poetic decisions or admit that improvements could be made. No matter what, you should thank anyone who volunteers their time to give you feedback--even if it's not an easy pill to swallow.

Hope that was helpful. And if you have additional comments, please share them with everyone in the comments section below--so the whole group can benefit from your insight.

If you happen to have questions of your own you would like to see addressed on the blog, feel free to send 'em my way with "Poetry FAQs" in the subject line to robert.brewer@fwpubs.com. I can't promise I'll answer them all, but I will try to do what I can.

Just stumbled across this interesting story of a book author promoting his book by dropping cash from a plane. You can check out the article here. Apparently, another publicity stunt helped him become a bestselling author in Indonesia a few years back.

Since I'm always wondering how to drum up interest in poetry, I started wondering if dropping money from the sky would help the poetic cause as well. Something tells me no, or if yes, then it would be for all the wrong reasons. However, maybe there's a way to slightly change Tung Desem Waringin's approach.

Instead of dropping money from the sky, maybe dropping poems from the sky would work. Maybe litter the streets with 8x11 sheets of paper with poems on both sides. Maybe do this once a week over every decent-sized city in the U.S. After all, if people are bombed with poetry long enough, there's a chance they may actually read--and (gasp!) enjoy what they're reading.

Or maybe I should get my head out of the clouds.

Over the weekend, I was asked by a poet for tips on how to handle criticism as he tried thinking out whether he should join a writing critique group. With his work, he was afraid of a few things:

1. He wouldn't be able to handle the critiques. That is, he was afraid too much negativity would lead him to give up writing.
2. He wouldn't find the right readers to give critiques. He'd written a massive blank verse poem, and he's afraid the wrong group won't appreciate his words.
3. He won't appreciate the written words of his peers. He seemed to have a particular view of other contemporary writers--thinking much of today's writing is kinda like spam.

Now, I'm not going to get into a debate of his stance on contemporary poetry, which I personally think has very good vital signs. However, as a former participant of several online critique groups and a student that logged more than 60 credit hours in writing courses at the University of Cincinnati, I will speak a little on the value of critique groups.

So there, I've already tipped my hand: I think critique groups are valuable, even if you don't agree with the critiques. And here's why:

First, the only way to gauge if something is actually working for your readers is to solicit feedback. Sure, you know what you're trying to do, but you don't know if anyone else is picking up on it unless you hear it from your readers. After all, you can't go around explaining your intentions to every reader--unless you actually want a very small audience.

Second, bad feedback is still valuable, because it forces you to look hard at your work and try to justify exactly why a particular line or image is fine as it is. And you need to be honest with yourself. If you can't honestly defend your work, then you may have an area that needs revision.

Third, there's nothing better than good feedback. After taking in all the praise though, be sure to develop a certain sense of paranoia. Is everything really okay? Can I change a line here or there? I've found that when I receive absolutely no negative feedback that I'm usually more self-critical of my work. After all, there's no such thing as a perfect poem.

Fourth, critique groups give you the ability to talk out problems you're having. If you know something's not working, you can ask the group to pay attention to x or y and give specific feedback.

Fifth, critique groups provide camaraderie with other poets. And that's often hard to do, especially if you don't live in a major city--but even there, poets are a bit hermetic and love to fly solo.

So there are some reasons why critique groups--as well as workshops, conferences and creative writing programs--are a good thing (in my opinion).

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As far as handling the criticism, as mentioned above, you should always be prepared to defend and scrutinize your work. It's a crazy tightrope act, but one that poets need to perform to get the most out of their lines.

Personally, I always bring a new poem to my critique group hoping for the best and expecting the worst. Usually, I find my words are somewhere in the middle.

Currently, I'm not a part of a critique group, but I still have some trusted readers for poems that I feel are close to getting where I want them to be. These are the readers I trust to let me know if my writing is hitting the mark or falling short. I know they'll let me know, because we've built up a level of trust over the years--both in giving and receiving criticism. Hopefully, if you haven't already, you will be able to find such a group of trusted readers.

And if you're looking for a brilliant, cost effective, creative and last minute gift for Mother's Day, do what I plan on doing for my mother: Write her a poem.

Actually, I'm going to go a few steps beyond that. First, I've written the poem. Second, I will get one of those two-picture frames tomorrow. Third, I will insert the poem into one half of the frame. Fourth, I'll insert a picture of my two brothers and I in the other half.

Wow! Super easy. Super cheap. Super creative. And super last minute. But I guarantee you my mom will be knocked off her feet and overcome with emotion.

(Note: While this kind of gift usually works with moms, it's sometimes frowned upon by the dads. Better to stick to your usual gameplan of a tie and a Father's Day card that farts or burps.)

Stumbled upon "Japanese Poetry Persists in Korea, Despite Disapproval," by Choe Sang-Hun from The New York Times, and found myself going back over that dangerous territory of what the purpose of poetry might be, could be and should be.

In this case, the poetic forms used by Korean poets can actually cause public shame and disapproval. Imagine getting dissed at a writers conference because you write triolets or kyrielles--not because they're bad poems, but because they're poetic forms with French origins. Such actions take poetry out of the realm of "just words" and makes it a very human activity.

Poetry is always important, but it reaches a new level when poets feel they have to hide their tanka and haiku out of fear and/or shame.

So read the article and think about it; talk about it with your friends; and keep it in mind throughout National Poetry Month (April here in the States).

"Poetry, Difficulty, and a Very Annoying Word," by Mark Doty from The Best American Poetry blog, is an interesting response to Charles Harper Webb's recent essay in The Writers Chronicle. Plus, you get to experience (through Doty's description) what his walk home was like.

I was happy to read Doty's response, because he did not attack accessibility in poetry while defending complexity. Many poets seem to slide over to one corner or the other. Of course, variety is the spice of life and there should be room at the table for everyone and why can't everyone just get along, etc.

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"Poetry Slam," by James M. Hohman from the Mackinac Center, argues against wasting Michigan taxpayers' money on a unpaid state poet laureate position. With new state and city poet laureates popping up all over the country, it is interesting to hear a voice arguing against the post.

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Check out other Poetry News.

Cover the windows! Dim the lights! But not too much, because you need to get writing today and into the night (late, late, late at night). After all, today is an extra day that you only get once every four years. If you don't write today, you won't be able to write on February 29 again until 2012.

2012!

Seriously, can you really live without writing for 4 years?

Of course you can't!

This is an extra day--24 hours that shouldn't even exist. Make sure you take advantage of this little gift, this little extra bit of February.

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Here's a challenge. Why not try writing a leap year poem? Either write your poem into the comments below, or send to my email (robert.brewer@fwpubs.com). If I get one or two that knock my socks off, I'll feature them (and the poets who wrote them) in a future post. Plus, I'll get working on one myself.

The editors at Pebble Lake Review offer a sample cover letter. This specific example is for fiction, but it's easy to see how it could be modified for poetry.

http://www.pebblelakereview.com/samplecoverletter.htm

A word of advice: Any time editors go out of their way to give you specific tips or samples of ways to prepare your submission, you should pay attention and follow their guidance. Trying to get overly "cute" or "creative" can get you an auto rejection slip.

"Windham Poetry Group Overcomes Adversity," by Heather Murdock from The Daily Campus, reports on a high school poetry group that's been performing locally and competing in poetry slams since early 2004.

As someone who founded and published a little lit zine in the mid-90s, I think high school is a perfect time for getting young adults interested in poetry. With all the fear, self-doubt and optimism that comes with being a teenager, this is the perfect age to record thoughts and emotions on paper (or computer screen).

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But just because high school is an opportune time, it doesn't mean that you need to wait for kids to grow complex emotions and apply for college. For instance, junior high works just as well.

"Poetry comes alive for some 7th-graders," from the Post and Courier, reports: "For the seventh-grade students of River Oaks Middle School, poetry will never be just a few boring rhymes they had to memorize in school."

And poetry never should be just some lines to read or learn. It should be something to experience and enjoy--whether the poems are funny, sad, difficult, or scary.

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I don't think you can ever start too early on building an appreciation of poetry in children. As the father of two boys aged four and six, I've been reading them poems since before they could talk themselves. Their favorite is probably "The Raven," by Edgar Allan Poe (they love everything spooky).

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Check out other Poetry News.

So today is Valentine's Day. Some people love it; some people hate it; and some people think it was invented (or at least promoted) by greeting card and chocolate companies. Here's a fairly detailed Wikipedia link about the holiday: http://en.wikipedia.org/wiki/Valentine's_Day.

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Love and poetry are classically linked. What is The Odyssey but a very long love poem?

Also, poets such as Ted Kooser have openly admitted their early attempts at poetry were to woo potential partners (that's how yours truly got wrapped up in poetry). By the way, check out this review of Kooser's Valentines book.

Even the reclusive Emily Dickinson has been known to write a love poem or two. In fact, here are 57: http://www.bartleby.com/113/index3.html.

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And poets always seem to be hooking up, though it should be noted not all poet couples stand the test of time (for instance, Sylvia Plath and Ted Hughes). Perhaps, Robert and Elizabeth Barrett Browning are the most popular example of romance between poets--but they are not the only example.

Even today, there are plenty of couples: C.D. Wright and Forrest Gander; Dorianne Laux and Joseph Millar; James Cummins and Maureen Bloomfield; etc.

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And as part of the Valentine's Day celebration, I'm going to share a poem I wrote recently to mark the day. It was inspired by those stale Sweethearts candy with those little messages, the longing for youth, and, of course, the love I feel for another poet (she knows who she is).

"At the Arboretum"

From his box of Sweethearts, he hands
her candy that reads CUTIE PIE
before eating his own WILD LIFE.
They walk the paved path to a pond
filled with sleeping koi. A sign warns
KEEP OFF GRASS, but she leads him there
anyway. In high school, this is where
he would run across the frozen pond and
wander off the trails and into the summer
creek water. He hands her CLOUD NINE
and pops a CHILL OUT. He remembers
being young and cold in February, but
a sweater feels just right today. He's
not in high school anymore he thinks and
starts to move back toward the path.
But then, she touches his arm, whispers, "Stay."

I received a couple questions over the weekend as part of my Writer's Market thing I do. And I thought they both would work well as things to ponder here. In fact, I'm opening myself up to poetry specific questions at my work email (robert.brewer@fwpubs.com) if you put "Poetic Asides Poetry Question" in your subject line AND if you refrain from asking me to critique your poetry (while I'd be honored, I just don't have the time to critique everyone's work).

If I get enough good questions, I'll try and answer some here from time to time.

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Question 1 had to do with planning ahead. The writer was ashamed she didn't know where to start with writing and getting published. This is a common problem, and the answer is very simple: Start by writing and not worrying about the other stuff.

Too many writers, including poets, worry about making money and finding fame before they've actually finished their manuscripts. Don't trouble yourself over all the riches and awards your writing is sure to earn you. Just write and enjoy the writing process.

As you're writing, you can (and should) read as many literary journals as you can. This is where you will be trying to place your poetry, so you should be studying these journals to have a good idea which journals match up well with what you're writing.

After you've got a lot of great material, read up on the do's and don't's of submitting your poetry. Then, read the specific guidelines of where you're submitting. As soon as you pull the trigger on submitting, don't wait around for a response: Get your butt back in your chair and craft some more poems.

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Tied to that 1st question I received this email (name omitted for privacy): "I am a very accomplished author and writer and I have written eleven poetry books to date now in a series. But I cannot seem to be able to land a good agent to represent me with my poetry books. They keep saying that they don't do poetry. I know that there is a big market for good poetry books. My newest two-book set of 600 poems is going to be a hit. Please help!"

Okay, so that's not really a question. It's a call for help.

The problem here is that this "very accomplished author" has an unrealistic view of the poetry market. Most bookstores reserve very little room for poetry. And then, the space in that rare shelf space is dominated by "the classics" and major award winning poets. So, there's usually no room for "good poetry books" by other poets--whether they are accomplished or not (in non-poetry fields).

Poetry is not a "get rich quick" method of writing. And literary agents are usually going to have no interest in representing poetry, because agents make 10-15% of what their authors make. And no agent is interested in working for 15% of 2 free contributor copies or even $50 (for those poets who do hit it big).

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So the message of this post (I really should try to have a message, shouldn't I?) is that you shouldn't get caught up in wondering what's going to happen to your poetry after you write it; you should just write it.

Of course they should!

Read: "Poet-mania: Mary Oliver's sold-out appearance sparks a ticket frenzy on Craigslist," by John Marshall from SeattlePI.com

The article reports on the popularity of Mary Oliver in the Pacific Northwest with tickets selling out at venues in both Seattle and Portland. And the demand is still so high that tickets have been traded on Craigslist for as much as $100 each. That's incredible!

As you'll notice in the article, Oliver has managed to make an emotional connection with her fans. So while it is essential to study the craft and technique of poetry, never forget to inject a healthy dose of heart as well.

While it's doubtful poets will re-shape popular culture into a poet-centric society with tabloids following the personal messes of contemporary poets (a la Britney Spears and Michael Jackson), Mary Oliver's success in the Pacific Northwest is helping keep the dream alive.

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When I'm not reading poetry, I love reading those Taschen art biographies. First, artists paint (hehe) interesting lives. Second, the paintings included in the biographies often work as excellent poetry prompts.

I'm reading about Italian painter Giorgio de Chirico at the moment. De Chirico worked as a surrealist and thought his life was connected to that of Friedrich Nietzche. As he found his voice (or do painters find their vision?), de Chirico grew increasingly fascinated with enigma.

Quick quote: "To become truly immortal, a work of art must escape all human limits: logic and common sense will only interfere." -Giorgio de Chirico

There's a lot of truth in this quote by de Chirico. While rules are the foundation of good writing, great writing often bends or breaks the rules slightly. The "imperfection" makes the work memorable and beautiful. It's not always the case, but technically perfect can often be perfectly technical (and boring). So getting back to de Chirico, art must push beyond the logic and common sense of good writing to become great writing.

Anyway, here are two poetry-related de Chirico images:

"The Poet and His Muse"

"The Delights of the Poet"

To get back to one of the reasons I read these art biographies, use these two images to jumpstart your own poem. If you feel so inclined, feel free to share on here.

Happy holidays!

"Three cheers for the epic poetry of jargon," by Jonathan Guthrie from the Financial Times, applauds the clever use of jargon by businesses to discourage further correspondence with clients. While this kind of "poetry" is great for businesses, it should be stated that poets will likely have the same effect on their readers if their poems are filled with an obscure personal jargon: Effectively, writers will cut off further correspondence with their readers. While business jargon could add a bit of authenticity to a poem, use with caution.

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"Report Reveals All Poetry is Rubbish," by Amateur Writer from Spoof.com, is a spoof on the importance of poetry reporting on a "1500 page report titled Poetry: Really, what is the Point?" If you're easily offended by poet or poetry put-downs, I would not recommend reading this "fake" report. But if you need a good laugh on a Thursday morning, you've probably already clicked on the link.

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"A poet forged in heartbreak," by Don Aucoin from The Boston Globe, profiles poet Afaa Michael Weaver, a former factory worker, who is now hitting his stride on the national scene, including a cover spot on this month's Poets & Writers. Interesting read, for sure.

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"A Windfall Illuminates the Poetry Field, and Its Fights," by Julia M. Klein from The New York Times, reports on the 5-year progress of the Poetry Foundation (once the Modern Poetry Association), publisher of Poetry Magazine, using a $100 million grant from pharmaceutical company heiress Ruth Lilly.

In 2002, there was a lot of shock and envy at such a large grant going to one entity. In 2007, there appears to be a combination of acceptance and snobbery--with some poets applauding the Foundation's work to spread the poetry gospel and other poets feeling the whole thing is dumbing down the institution of poetry.

Regardless of how you feel on the issue, it is an interesting article.

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For my own part, I took issue with a quote attributed to J.D. McClatchy (a poet who I enjoy reading and have always found accessible): "Poetry is supposed to complicate people's lives, not to reassure them, or to be a humorous relaxation or an amusing spot on the radio."

While poetry can complicate people's lives, I think this statement limits the purpose of poetry, which I feel can be summed up in one vulgar word for the academic crowd: Entertainment.

Poetry is meant to entertain. Arguing over whether poetry should be complex and disturbing or light and funny is like arguing over whether all fiction should be romance or mystery. Fiction's strength is its variety of genres and niches; poetry has that same strength in its various forms and audiences.

I've seen some poets argue that metrical poetry is the only way, while other poets push against forms of any kind. I've seen poets say that real poetry should only be concerned with language and structure, while other poets only acknowledge poems with some kind of real meaning at the heart of the poem. All the while, I've thought poets and those who love poetry should embrace the whole durned thing--from the teenage boy writing a poem for his unrequited love to the post-grad scholar constructing an anagrammatic series of sestinas that incorporate mythological interpretations of the meaning of pop culture references in the 1980s (hey, whatever floats yer boat).

Anyway, sorry for the rant, but I just often don't understand why all us poets can't just get along.

The title of this post is one of my grandfather's favorite questions to ask me whenever I see him. And, for my part, I never know how to answer, because I always feel like both; even when I'm working hard, it often feels like everything around me is hardly working. This contrast in feelings extends to my poetry, too.

Here's a funny little piece from The Onion: "Poet Takes  Extra 5 Minutes To Vague Up Poem." (Thanks to Joe Felso's Ruminations blog for leading me to this link.)

There are many ways to interpret this comment on poets and their process (including getting defensive), but one is that sometimes poets (myself included) try to rush a poem along. The "Vague Up" process here seems to be referring to "revision." In this example, the poet only takes 5 minutes to revise the poem and appears to do so directly after finishing the piece.

Perhaps as a result of my age, I can often get caught up in trying to produce poems. And often, I don't have to try: I just naturally always love writing. But, just because I'm working hard at cranking poems out does not mean any of those poems are working. Hardly, in fact.

True, I've got a lot of material to work with, but the hard part of writing is chipping away at those fine details. Great poetry may or may not be a pleasure to write, but it should always be a pleasure to read. And that responsibility falls dead on the shoulders of the poet.

I know I've been working very hard at the creation of my poems. However, I think I need to step back and take more than 5 minutes on how I finish my work so that I can eventually feel like my poems are doing more than "hardly working."

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This poem by Frank O'Hara also looks at the creative and revision process. Not only is it a good read, but it's also instructional: "Why I Am Not a Painter."

Actually, I'm not sure if there is any truth to that statement. I don't have any official statistics on award winning poets and their voting record. However, I think most good poets are actively engaged in the world around them. And what better way for poets living in the United States to engage in the world around them today than to vote?

That's right. Today is Election Day in the United States. There isn't the glamour of voting for President or even members of Congress, but the local concerns that affect you more directly are still going to be voted on today. So make your voice count and vote today.

And for people who say that it doesn't matter because the things you vote for are going to lose anyway, consider this: There are few things better than knowing you were right when you were in the minority and that you stood up for what you believed even when you were in the minority.

Anyway, I don't care what your political views are. Just get out there and cast your ballot.

"Could Stalin have been a poet instead of a tyrant?," from Russia Today, is a very interesting piece on how Joseph Stalin went from being a rising poetic star to a Bolshevik leader. Of special interest is how Stalin's poetry may have helped him rise to be the leader of a nation.

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With that story in mind, it is not recommended that you use poetry as a platform for political gain (or to stage robberies, for that matter). Poetry should always be kept separate of any such evil doing.

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Check out other Poetry News.

Received this question via e-mail from poet Liesl Garner:

"Last year I performed a poetry show at our local Fringe Festival. I got wonderful reviews, and I am performing a Repeat Performance in October of this year. The Fringe Festival is every Spring, and I plan to participate each year. After my first show, I was asked if I had my poetry printed in a chapbook for sale. I didn't, but for the Repeat Performance I want to have that available for audience members. I'm actually thinking of doing a chapbook for each year's performance. Is it bad for my hopes and dreams of someday becoming a published poet to be doing my own publishing of chapbooks?

"Currently, I just don't have the time to be submitting with the numbers I would have to in order to get noticed by a publisher. However, on my local scene, I have a large fan base that wants to see my work in print.

"Thanks, Liesl Garner"

Before I get into my ramble, you should probably read Nancy's Published Is Published post about what self-publishing will do to those poems that are self-published in the eyes of editors. Then, come back here to read what I have to say.

(Tapping on desk as Liesl reads Nancy's post. Ba-ba-ba. Humming to self.)

Back?

Okay then.

So you now know that self-publishing any of your poems will have editors considering those specific poems already published, right? That doesn't mean your career is over, it just means these specific poems are now only available as reprints. This fact can hurt when submitting to poetry journals and magazines or even chapbook contests. But the publication of some of your poems does not affect what you do with other poems that are not self-published.

If you decide that for the current crop of poems you wish to self-publish that it is okay if they risk being only available in your self-published chapbook format, then you should go for it. More and more poets are doing this. However, if you wish to see any of these specific poems in some journal or future chapbook competition winning collection, you may not want to include in your self-publishing effort.

As far as actually self-publishing, I advise you to either go with a local printer that you can work with directly--or there are some online POD companies that allow you to print and publish only one book at a time, which dramatically lowers the investment you have to make in your self-publishing venture. I'm sure some very nice poets (hint, hint) could even give suggestions in the blog comments below. Even if not, that's why God created Google; just type "POD Publishers" into Google, and you will receive plenty of online resources of how and who to proceed with.

On another note, there's no shame in self-publishing. Through the ages, poets have been especially prone to self-publication. And that trend only seems to be expanding even more with online and POD technologies now available to poets.

Just remember: Self-publishing does equal publishing. So those specific poems that are self-published could pay the price with publishers in the short term. Of course, most poets would agree that you're not risking much financially by self-publishing over traditional publication. For many, the main goal is to just reach an engaged audience.

Best,

Robert

Okay, so maybe that's not technically correct. For instance, I buy new poetry collections about once a week. And I know poets who purchase collections of poetry on a regular basis. People do buy poetry, but it's not easy finding a good selection of poetry to buy.

There's a chicken and egg problem with poetry collections in the marketplace. Booksellers don't stock too much poetry, because poetry doesn't sell well. Potential poetry buyers don't buy poetry, because there's not a good selection (or sometimes, in my personal experience, I've had trouble even finding a poetry section in bookstores).

Would poetry sell better if it had more shelf space? I'm not sure we'll ever know, because it doesn't make good business sense for bookstores to take a chance on poetry. I don't agree with it, but that's how the bottom line works.

"Local poetry publisher BOA rises to national status," by Matthew Daneman for Rochester Democrat and Chronicle, profiles prominent poetry publisher BOA. Of particular interest, BOA estimates 43% of its revenue comes from book sales and 37% from grants and donations--illustrating just how hard it is to sell poetry.

Despite this despicable state of the poetry publishing industry, I feel very certain that poetry will never die. Readers do go out of their way to find poetry in the nooks and crannies of bookstores and flea markets and Web sites and anywhere they can find it, because those who read poetry are passionate about poetry.

So anyway, I just sometimes get discouraged about the lack of shelf space devoted to poetry. I'm sure other poets do too. However, I just want to remind everyone (myself included) that we don't write poetry for the money or fame; we write poetry, because we can't stop ourselves. What's wrong with us anyway? (Just kidding, I think.)

As a runner, I love this time of the year. The temperatures are starting to cool off. The air always seems a little fresher. (Is it possible to have a fresh smog alert?) And soon, the foliage will be turning brilliant colors to contrast with the usual bright blue autumn sky.

As a poet, I love this time of the year for a different reason: This is when the university-run literary journals typically open up their submission reading periods. While reading periods change from journal to journal, most open up around the beginning of September and run through the end of April.

So the time is perfect for both running and submitting here in Southwest Ohio. I've got a new pair of running shoes and a copy of 2008 Poet's Market (edited by my blogging cohort, Nancy Breen). I love this time of year!