2020 Writing Exercise Series #317: Six Word Shootout 35

      

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#317
Six Word Shootout 35

For today's writing exercise write a piece that includes the following six words. While it perfectly sets you up for a sestina, and while I am a sucker for homonyms, feel free to write whatever you'd like (but ya know, maybe give that sestina a shot!). Also feel free to make slight alterations to the required words if you want to avoid that eye-pokey repetition you can find in sestinas sometimes.

Required Words: 

1) Established

2) Truthful

3) Played

4) Haunt

5) Served

6) Gut

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Bonus Exercise: Include the following three things: A Salmon, The Lion King and Shakespeare (to Hamlet, or not to Hamlet, that is the question here).

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If you'd like some background music to write to, try The Mandalorian Theme - Lofi HipHop Mix.

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2020 Writing Exercise Series #316: Title Mania Plus 49

   

The Notebooking Daily 2020 Writing Series is here! These are daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#316
Title Mania Plus 49

For today's writing exercise you will write a piece of poetry or prose which uses one of the following as its title. Before you write, first read the poem from which the titles are selected. For a bonus challenge use the additional exercise of five random constraints.

Today's titles come from the amazing poem "Pompeii" by Michelle Bitting. Go read it!

Titles:

1. The Worst Catastrophes
2. Rust to the Wind
3. Watching a Kingfisher Dance
4. Snaking
5. Preserved by Ash and Lack of Air
6. Face Melting

Bonus Exercise: Three Things

(Your piece must also include the following three 'things')

1. A Volcano
2. Yellow Squash (gourd)
3. Milk

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If you'd like some background music to write to, try this "we got history" lofi mix.

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2020 Writing Exercise Series #315: Three Things Together 52

        

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#315
Three Things Together 52

For today's writing exercise you will write a piece of poetry or prose which contains the following three things, Nice and simple.

1. A Tire Swing
2. A Flamethrower
3. The Moon

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Bonus 'Five Words': Include these five words in your piece: Hurling, Hurtled, Hercules, Splashed, Quiver.

If you'd like some background music to write to, try this folk album "The sacred Flute by Jay Vincent".

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2020 Writing Exercise Series #314: Beginning & Ending with Cars 33

  

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#314

Beginning & Ending with Cars 33

For today's writing exercise you will write a piece of poetry or prose which begins with one image, scenario, line of dialog or place and ends with another, and an optional additional requirement.

Begin With: Witnessing a T-Bone car accident.

End With: A child 'racing' two toy cars.

Extra Credit Requirements: Include, somewhere in the first two paragraphs/stanzas, the phrase "smoother than expected"; and somewhere in your piece include the words: "Gun" "Whopper" "Bluer" "Vet" and "Stapled".

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If you'd like some unobtrusive background music try this "Autumn Mix '20" lofi playlist from our friends at The Jazz Hop Cafe.

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2020 Writing Exercise Series #313: 3x5x7 Wordbank Sprints 42

     

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#313
3x5x7 Wordbank Sprints 42

For today's writing exercise complete the following steps. The wordbank exercise has changed so be sure to take a peek at the new 'rules'. I recommend using the timer on your phone or computer and setting it for 1 minute. Each time you write a sentence, quickly reset the timer. If it goes off before you're finished with the sentence—wrap it up ASAP!

In order to complete the large number of sentences demanded of this exercise it is imperative that you write fast. Don't think too much at all until you've reached the final exercise. The process of this quick production is to thrust past second guesses or other stumbling blocks that sometimes impede your writing. You're aiming to write 23 sentences in at most 20 minutes so you have ten minutes to organize and write that actual piece, so you're going to be writing more than a sentence a minute.

WRITE FAST, DON'T OVERTHINK

1. Pick one word from each of three groups and write a sentence that includes all of the words, feel free to change tense, pluralize, gerund etc. Repeat the process five (5) times using different combinations. No dawdling! 
2. Now write three (3) sentences that are six (6) words or fewer in length that use any two (2) words from the wordbanks.
3. Now write three (3) sentences that use four (4) or more of the words.
4. Now write five (5) sentences which begin with one (1) of the words and contain a second one (1) of the words.
5. Now write five (5) sentences which are fewer than ten (10) words in length and conclude with one (1) of the words from the wordbanks. Remember, keep up the pace! Don't overthink!
6. Now rephrase two (2) of your sentences from exercise #1 in either a more efficient or more descriptive manner.
7. Now write a piece of fiction or poetry that uses at least three (3) of the sentences you've written throughout this process of exercises. Try to use as many of the (good) sentences as you can, or parts of the sentences if the whole thing doesn't fit or works better altered.

Word Bank 1:

• Bellows
• Jeans
• Dial
• Kleptocracy
• Filet

Wordbank 2:

• Services
• Navy
• Rouge
• Elongated
• Foppish

Wordbank 3:

• Corn
• Stalled
• Trolley
• Mauve
• Pigeon

Bonus writing exercise: Include the word "Before" in your title or opening sentence, and in the piece you must include a tree falling.

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Want some unobtrusive background writing music? Try this "I'm not my past" lofi mix. 

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2020 Writing Exercise Series #312: Six Word Shootout 34

     

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#312
Six Word Shootout 34

For today's writing exercise write a piece that includes the following six words. While it perfectly sets you up for a sestina, and while I am a sucker for homonyms(—NOT TODAY!), feel free to write whatever you'd like (but ya know, maybe give that sestina a shot!). Also feel free to make slight alterations to the required words if you want to avoid that eye-pokey repetition you can find in sestinas sometimes.

Required Words: 

1) Refine

2) Plot

3) Sign

4) Stop

5) Circle

6) Grand

-
Bonus Exercise: Include the following three things: A Gourd, A Powerline and Sap.

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If you'd like some background music to write to, try this keyword-laden titled "old songs but it's lofi remixes -vintage, retro, jazzhop, lounge music" lofi mix.

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Poetry From Another Room 1 [ LOFI | VERSEHOP ] tester video

 Poetry from Another Room 1

Hi everyone! 

I'm hoping to make this a series and actually put some time in the visuals (though, whoever doesn't love that cat can fight me), but for the time being check out this tester video I made of lofi music with poetry (readings, talking craft etc), and a little bit of ambient sounds mixed in. This first tester includes clips of Paul Muldoon chatting about poetry interspersed throughout, then poets reading their poems. In order we have Li-Young Lee reading "From Blossoms", then Jane Kenyon reading her poem "Otherwise", then Mary Oliver reading "Wild Geese", then James Wright reading "From a Bus Window in Central Ohio, Just Before a Thunder Shower" (and a little funny banter), and finally Steve Kowit reading "I Attend a Poetry Reading". I'm really happy with how the audio came out. For future editions, and perhaps even this one in the future I'll include visuals in some fashion to include the actual poems and perhaps imagery of the person talking, so I'll have to find/make bg artwork with a screen prominent in it if any artists are reading this, somehow lost perhaps. 

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2020 Writing Exercise Series #311: Erasing Roger Ebert 14 "The Green Berets"

 

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#311
Erasing Roger Ebert 14 "The Green Berets"

For today's exercise we have split paths for fiction and poetry, though I highly recommend that even fiction writers try the poetry exercise, because erasures can be a blast!

For poetry do an erasure or black-out poem from the following:  Roger Ebert's review of the 1968 film "The Green Berets" (1 star) starring John Wayne.

Roger Ebert has been the stereotypical film critic for decades, and he's written thousands of reviews. Because of their nature, almost their own bit of ekphrastic art, this series of erasures will be lots of fun!

An Erasure/Blackout is really simple: you take the given text and remove many words to make it your own new piece. One way to go about the erasure that I like to do is to copy the text and paste it twice into your document before you start erasing or blacking out (in MS Word set the text background color to black), that way if you get further into the erasure and decide you want a somewhat different tone or direction, it's easy to go to the unaltered version and make the erasure/black-out piece smoother. Another tip is to look for recurring words, in this example 'bingo' occurs multiple times and could be a good touchstone for your piece.

If you insist on fiction (or just feel like writing a "Title Mania" piece), write a piece with one of these  titles taken from this section:

1. Berets Simply Will Not Do
2. Cruel and Dishonest and Unworthy
3. Never Played in Chicago
4. After a Week
5. To Fight a Guerilla War
6. An Individual Human Being Trying to Act Ethically in a Difficult Position
7. Stereotyped Heroes

Erasure Selection:

Roger Ebert's review of "The Green Berets"

"The Green Berets" simply will not do as a film about the war in Vietnam. It is offensive not only to those who oppose American policy but even to those who support it. At this moment in our history, locked in the longest and one of the most controversial wars we have ever fought, what we certainly do not need is a movie depicting Vietnam in terms of cowboys and Indians. That is cruel and dishonest and unworthy of the thousands who have died there.

It is not a simple war. We all know it is not simple. Perhaps we could have believed this film in 1962 or 1963, when most of us didn't much care what was happening in Vietnam. But we cannot believe it today. Not after television has brought the reality of the war to us. Not after the Fulbright hearings and the congressional debates and the primaries. Not after 23,000 Americans have been killed.

Whether we are for the war or against it, we all know it is a terribly complicated struggle. There is a desperate need in this country for a film that will depict the war in honest terms. There have been two such films: Eugene Jones' heart-wrenching masterpiece "A Face of War" and the Academy Award-winning documentary "The Anderson Platoon." The Jones film has never played in Chicago. The other closed after a week.

Neither film is against the war. Instead, both try to explain it in terms of the confused struggle there, and the soldiers who are fighting it. It is this sort of film that many Americans hunger for: a film that will tell it like it is. We need no more propaganda.

But propaganda is what we get in "The Green Berets," a heavy-handed, remarkably old-fashioned film. It is supposed to be about Vietnam, but it isn't. The military adventures we see could be from any war. In one, the enemy attacks a camp and the two sides shoot at each other. In the other, a team of soldiers kidnaps a Viet Cong general.

Both episodes are handled the way Hollywood always fights wars: with clichés and stock characters. There is an Irishman named Muldoon, a doubting journalist, a Negro, a little refugee kid with a pet dog, a hard-bitten veteran and the rest of the stock characters who fight every war for us. Everybody is there except the Jewish kid from the Bronx and the guy named Ole with a Swedish accent.

What does this have to do with Vietnam? What about the reality there? What about the campaign to pacify the countryside? To win the psychological war? To devise techniques to fight a guerrilla war? To cope with the tragic dilemma of civilians in a ravaged land? To establish democracy where it has not been known before?

As I have suggested, the film is embarrassing to hawks as well as doves. In one remarkable speech, John Wayne tells the journalist: "Out here, due process is a bullet." Is that our policy? What is our policy? The film doesn't make it clear. Judging by "The Green Berets," we seem to be fighting a war for no particular purpose against a semi-anonymous enemy. There is no word about democracy or freedom, nationalism or self-determination. It appears that the war has been caused entirely by the enemy and that the enemy commits atrocities because he enjoys them. There seems to be no other issue.

This is not only dishonest, but unfair. If I were a soldier in Vietnam, I would not want to be represented by "The Green Berets." I would not want my fellow citizens to think I was as stupid and simple-minded as the Americans in this film. I would prefer a more realistic film, in which I was seen not as a hero but as an individual human being trying to act ethically in a difficult position.

Such a film has been made: Jones' "A Face of War." I saw it in the company of several marines recently returned from Vietnam. They found it a fair and true film, neither for nor against the war but about it. It is a soldier's film, starring not John Wayne and his fellow stereotyped heroes but actual infantrymen in the field, most of them young, sincere, brave, weary and saddened by the things they see and some of the things they must do.

"A Face of War" is available for exhibition in Chicago. It should be shown, not in a little art theater somewhere, but in one of the big Loop movie palaces. At this time, confronted by this war we all need to understand, "A Face of War" might help neutralize the virus of "The Green Berets." For what we desperately need are not heroics and bugle calls, and clichés and atrocity stories, but honesty and compassion.

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If you'd like some background music to write to, try this "that 2am fresh air" lofi playlist.

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2020 Writing Exercise Series #310: Title Mania Plus 48

  

The Notebooking Daily 2020 Writing Series is here! These are daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#310
Title Mania Plus 48

For today's writing exercise you will write a piece of poetry or prose which uses one of the following as its title. Before you write, first read the poem from which the titles are selected. For a bonus challenge use the additional exercise of five random constraints.

Today's titles come from the amazing poem "Renascence" by Edna St. Vincent Millay. Go read it!

Titles:

1. Three Long Mountains and a Wood
2. Back to Where I'd Started From
3. Lo!—Infinity
4. Friendly Spheres
5. All Venom
6. The Pitying Rain

Bonus Exercise: Three Things

(Your piece must also include the following three 'things')

1. A Hole in the Ground
2. A Snake
3. An Island

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If you'd like some background music to write to, try this "Dreams of Japan" lofi mix from our lofi pal, the prolific Dreamy.

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2020 Writing Exercise Series #309: Three Things Together 51

       

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#309
Three Things Together 51

For today's writing exercise you will write a piece of poetry or prose which contains the following three things, Nice and simple.

1. Coffee
2. Red Poppies
3. A Steering Wheel

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Bonus 'Five Words': Include these five words in your piece: Fight, Whistling, Welt, Pooled, Vascular.

If you'd like some background music to write to, try this folk album "Concentrate Your Mind" lofi mix from our buddy Dreamy.

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2020 Writing Exercise Series #308: Beginning & Ending with Falling 32

 

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#308

Beginning & Ending with Falling 32

For today's writing exercise you will write a piece of poetry or prose which begins with one image, scenario, line of dialog or place and ends with another, and an optional additional requirement.

Begin With: Someone falling through a rotten floorboard.

End With: Skydiving.

Extra Credit Requirements: Include, somewhere in the first two paragraphs/stanzas, the phrase "quickening"; and somewhere in your piece include the words: "Frost" "Elephant" "Noose" "Toppled" and "Routinely".

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If you'd like some unobtrusive background music try this "Pandora Night" lofi playlist from our friends at Feardog Music.

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Spy in the Slushpile #3: After the Pause

  

Spy in the Slushpile #3 After the Pause

Psssst! Over here! 

Notebooking Daily snuck agents into the offices of your favorite literary magazines to bring you—the potential submitter—the sweet low down, the inside track, the full two scoops of raisins. Everything you need to know to make as successful of a submission as possible will be here, but remember that the number one rule to putting your best foot forward is to take the time to read the journal you're submitting to and FOLLOW THE SUBMISSION GUIDELINES. This is vital to show the editors that you respect their time and effort, and because some journals will reject submissions that don't extend the simple courtesy of following guidelines, without even reading it—and no one wants that.

Today we check in with our spy who was sent to the offices of the literary magazine After the Pause.

Our spy's dossier: 

After the Pause is an experimental online literary journal, based in Indianapolis, IN (with strong ties to other parts of the Midwest) that is published quarterly. They feature experimental poetry, flash fiction, visual poetry, and visual art from new, emerging, and veteran writers. 

  READ THEIR GUIDELINES

Their editorial statement is as follows: 

We believe art and writing are born from life experience: the terrible, the traumatic, the happy, the wondrous, the completely mundane. From the worst tragedy to the most blissful joy, we think art is an incredible byproduct of everything that happens. Life throws pauses at us; art follows the pause. Everyone has a voice worthy of being heard and everyone has something worth saying. We welcome diversity of every variety. We want freshness, engagement, vitality. We want words and stories that are real, gritty, outlandish, linguistically beautiful, meaningful, etc. We love ideas and invention, taking risks with form, being experimental. Above all, we want things that make us think and stick with us.

Their Submission Guidelines Page | Their Duotrope Page

Their Facebook Page  |  Their Twitter Page | Their Issu page

Their 2015 "6 Questions For" interview | Their Duotrope interview

--

Disguised as an alpaca, our spy was able to get close to Editor-in-Chief Michael Prihoda—in addition to being a poet and editor, our research uncovered is also a notable llama enthusiast—and was able to secure the answers to their assigned six questions. The transcript follows.

1) I always recommend that potential submitters read the most recent issue of a journal before submitting there (at least the genre which they're submitting), but if you could recommend, say three or so pieces (or however many) that you feel especially exemplify for one reason or another, what you're looking for, or that you are especially proud to have published and think everyone, whether they plan on submitting or not, should read? 

TL;DR Pieces that exemplify the journal. 

I’m going to indulge a bit and highlight all five of the pieces we nominated for the Best of the Net in 2019. The first is flash fiction, the remaining four are poetry and ought to give anyone a fabulous tour through what we’ve delighted in elevating in recent history.  

• “These Dreams are Fists” by William Lychack (Winter 2018)

• “These things are (not) alike” by Milla van der Have (Winter 2018)

• “July 23, 1990-Present” by Marya Layth (Spring 2019)

• “The reviews are in” by Samuel Wronoski (Spring 2019)

• “Ennio’s ocarina heralds my demon on a black horse” by Kate Garrett (Summer 2019)

2) Is there any genre, topic, theme or stylistic that you are surprised you don't see more of, or that you would like to see more of? For instance prose poems, stories about organized sports (or one in particular), non-conventional family narratives, non-standard typography, alternate history, high sci-fi, hybrid pieces utilizing white space... 

TL;DR I wouldn't kick these submissions out of bed for eating crackers. (updateable, if the interview results in an unwanted flux of submissions)

I always wish we would receive more submissions of experimental flash fiction in what areas that I think of as typically genre-bound, such as fantasy, science fiction, etc. Much of the flash fiction that hits our inbox is literary in nature, which there’s certainly a place for and we’ve published some of it. Yet I have an un-sated desire to unearth some gems of experimental fiction that play with elements of fantasy and science fiction, even romance and horror. We know people are out there writing it and some journals are even solely dedicated to that concept, at least for single genres, but we’d love to feature some too in all our eclecticism. 

3) Hard sells—and not just the standard (though very important) "don't send hateful, misogynist, racist etc" work. Is there a plot, trope, character, motif, idiom or even phrase you would like people to think twice about before using? One that you see a ton, or that stick out when you're reading, in a negative way for whatever reason.

TL;DR Hard sells.

We’ve mentioned it before in interviews, though I’ll repeat here: we have yet to publish a poem that rhymes or has structured rhyme scheme. That poetry just isn’t for us. Cliché phrases are also a major turnoff and as a writer I get that sometimes they just feel like the path of least resistance. But in short forms like we publish they really stick out and make it easy to reject a piece. The other thing I’ll note is to be wary of passive voice, especially in your opening line. We read a lot of flash fiction that starts with passive voice and it’s generally the snooze button when you start that way for us. Meaning, rejection. Not saying it’s impossible, but you’ve already made a mountain to climb with that sort of opening sentence. 

READ THEIR GUIDELINES

4) If you could pick 2-3 pieces of writing that you just love that are already out in the world and somehow have the ability to have discovered it in your slushpile, itching for you to publish them, what would they be? 

TL;DR Wish I could've published that!

We had the pleasure of reviewing Hijito by Carlos Andres Gomez a while back and basically every poem in that book is something we wish we could have published. We also have published poems by John Sibley Williams and find his oeuvre in general just fantastic. Then again, what we wouldn’t give to have had the chance to publish Danez Smith or Ocean Vuong or Bao Phi when they were relatively obscure.

5) To your tastes, how would you describe the sort of "experimental" writing you seek? The idea of categorizing experimental or avant-garde writing is very slippery, as it means different things to different people, and it can even change over time from the same person's perspective. So in this moment, allowing that tomorrow you may feel differently and we won't hold you to it, what are you looking for in experimental writing? Is there a 'soft line' where it begins to lose meaning or goes too far (say, where you think the author/artist's intentions are subverted or hurt by the radical level of experimentation—of course allowing exceptions, we're not issuing challenges here) 

TL;DR The journal's place on the spectrum of 'experimental'.

We see experimentalism as moving away from a certain structure or form or mode of operation. Perhaps the easiest way to describe it is to use examples of what we’ve published that immediately leaped out to us as experimental. One was a short story (barely more than a paragraph long) that purposely left each of its sentences unfinished, forcing the reader to infer the end of each. It was a neat trick, deftly done, and it didn’t frustrate because it didn’t overstay its welcome. Another was a short story (again, quite short) that was written as a recipe. We’ve seen others that take the form of a quiz or test. Another was written as a series of haunted voicemails. To us, the greatest downfall of experimental work we see is thinking that just doing something strange or weird on its own is enough, especially in visual poetry. If the words you array in some meaningful pattern are boring and on their own uninteresting, simply giving them an experimental arrangement or pattern won’t save them. The element of experimentation you add to literature has to elevate the piece and take it somewhere it couldn’t get on its own. Yet the material you start with matters. You have to be even more precise and careful because the smallest mistakes or missteps loom larger when analyzing experimental writing. 

6) If you could speak directly to a potential submitter as a voice in their head, like their 'submission conscience', neither angel nor devil but bookish nerd that wants the person to have the best chance with their submission as possible, what would you want them to be sure to do or consider when submitting? 

TL;DR Please consider this when submitting.

I hate to say this as basically every editor across time has said it and probably the audience who needs to hear it isn’t going to read this interview but, here goes: read the submission guidelines and follow them when you submit. I run a casual ship at After the Pause so I’m willing to put up with submissions that bend the rules to an extent but it’s downright stunning how many submissions I get where it’s obvious they have not looked at our guidelines page and all that ultimately does is put a bad taste in my mouth before I even have a chance to review. If you want to give yourself the best possible chance to be accepted, follow the guidelines for After the Pause, or any other magazine. 

If you want bonus points, read a couple of pieces from a previous issue before submitting. You do not have to mention this but I guarantee for mine or any other magazine, it will inform what kind of work you might submit or if you feel like submitting at all. It will also give you an idea of how your work will be displayed, which is a meaningful thing to consider since if you don’t like a magazine’s finished product, don’t bother submitting because you won’t be proud to in those pages. The first question in analyzing whether a magazine is the right home for your work is whether or not you would be proud to be published there. If not, move on. If yes, then spend the time necessary to ensure you set yourself up for success. Every submission becomes part of your reputation, every submission is a foot in the door toward a relationship with the magazine you’re sending to. 

I’ll go on a tangent for just a moment to mention something I feel strongly about. First, I am guilty of not always following the incoming advice, but I think it is so important. Maybe others are already good at this and I’m the only one who needs to hear it but I reckon it’s a common thing among writers. When you get published somewhere, do the journal, the other contributors, and yourself the courtesy of reading more than just your piece when the issue comes out. Or if they publish one-offs, read some pieces that come out around the same time. Your relationship with a journal should not end with publication. And it goes back to being proud of your publications. You should be curious about what your piece shares room with and you should want to become acquainted with the writers and the talents you have been lucky enough to share print/digital homes with. 

READ THEIR GUIDELINES 

(at this point the editor was clearly onto the ruse and knew our spy was indeed not the Huacaya Alpaca he'd claimed to be upon their meeting, yet Michael hadn't called for security and was instead politely shepherding him out the door, so our spy wrote down one last question and received the answer as he exited)

7) What do you think differentiates prose poetry from flash fiction (or micro fiction), with the caveat that of course there will be exceptions to all 'rules' in writing, so it's something of a soft 'line' by nature.

The scansion is what unites them in my eyes. The eye’s flow in prose poetry and flash fiction ought to be similar. Roughly paragraph following paragraph. What differentiates them then are the flourishes that poetry generally allows vis a vi fiction. Meaning freedom in punctuation, internal line spacing, lowercasing, and, linguistically, the ability to not need the traditional story structure that even micro or flash stories mostly retain.

--

Michael was a gracious host, so perhaps the subterfuge was unnecessary of our spy, but not every journal will be quite so accommodating—because of that we'll keep reporting back from the various assignments of our Spy in the Slushpile.

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2020 Writing Exercise Series #307: Title Mania Plus 47

    

The Notebooking Daily 2020 Writing Series is here! These are daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#307
Title Mania Plus 47

For today's writing exercise you will write a piece of poetry or prose which uses one of the following as its title. Before you write, first read the poem from which the titles are selected. For a bonus challenge use the additional exercise of five random constraints.

Today's titles have no theme. I swear.

Titles:

1. Lost in a Dense Crowd
2. Lost and Found
3. The Pink Hat You Stole From the Lost and Found
4. Looking to Get Lost
5. Getting Lost
6. Things Found and Things Lost 

Bonus Exercise: Three Things

(Your piece must also include the following three 'things')

1. A Tootsie Roll (candy)
2. A Battery
3. A Dam

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If you'd like some background music to write to, try this "Sitting Duck Wonderland Chapter 1" mix from our lofi pal the Chilled Cow.

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2020 Writing Exercise Series #306 We went for Anaphora—Repetition Files 14

 

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#306

We went for Anaphora—Repetition Files 14

For today's writing exercise you will write a piece of poetry or prose which focuses on repetition. In this instance we will work with anaphora. It's a handy little bit of poetic craft that goes a little something like this:

the repetition of a word or words at the beginning of successive phrases, clauses, or lines to create a sonic effect.

Take a moment and read the above-linked Poetry Foundation article, even if you know the term. For even more fun check out this longer article called Adventures in Anaphora.

Your mission is to use the following phrase to begin at least 5 sentences.

The word or phrase we'll use for our exercise today is:

"We went for..."

There are a number of ways you could approach this bit of anaphora—what would cause a trip, a journey, a pilgrimage, an epic adventure to some specific place? Or is it more of an obligation than a draw, like school or a family reunion or 'recital'. Just be sure that the repeated phrase earns its worth in your piece, and it should in some way build upon what came before it. The repetition should be necessary and not merely redundant.

Bonus Exercise: Include these five words into your piece "Valhalla" "Enormous" "Glowering" "Clink" and "Tangy".

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If you'd like some background music to write to, try this "Groovin' HighShiloh Dynasty" lofi mix. 

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2020 Writing Exercise Series #305: Six Word Shootout 33

    

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#305
Six Word Shootout 33

For today's writing exercise write a piece that includes the following six words. While it perfectly sets you up for a sestina, and while I am a sucker for homonyms(—NOT TODAY!), feel free to write whatever you'd like (but ya know, maybe give that sestina a shot!). Also feel free to make slight alterations to the required words if you want to avoid that eye-pokey repetition you can find in sestinas sometimes.

Required Words: 

1) Late

2) Plate

3) Grade

4) Trade

5) Break

6) Wake

-
Bonus Exercise: Include the following three things: A Pillow, A Map and The Feeling of the World Caving in on Oneself.

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If you'd like some background music to write to, try this "Space Walks" lofi playlist from our lofi DJ buddy Dreamy.

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2020 Writing Exercise Series #304: Three Things Together 50

       

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#304
Three Things Together 50

For today's writing exercise you will write a piece of poetry or prose which contains the following three things, Nice and simple.

1. A Candy Cane
2. Schnapps
3. Cowboy Boots

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Bonus 'Five Words': Include these five words in your piece: Flinch, Santa, Elephant, Troops, Elixir.

If you'd like some background music to write to, try this folk album "Malibu Nights" lofi mix from out buddy Feardog Music.

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2020 Writing Exercise Series #303: Beginning & Ending with Rivers 31

The Notebooking Daily 2020 Writing Series is a daily writing exercises for both prose writers and poets to keep your creative mind stretched and ready to go—fresh for your other writing endeavors. The writing prompts take the impetus—that initial crystal of creation—out of your hands (for the most part) and changes your writing creation into creative problem solving. Instead of being preoccupied with the question "What do I write" you are instead pondering "How do I make this work?" And in the process you are producing new writing.

These exercises are not meant to be a standard writing session. They are meant to be productive and to keep your brain thinking about using language to solve simple or complex problems. The worst thing you can do is sit there inactive. It's like taking a 5 minute breather in the middle of a spin class—the point is to push, to produce something, however imperfect. If you don't overthink them, you will be able to complete all of the exercises in under 30 minutes.

#303

Beginning & Ending with Rivers 31

For today's writing exercise you will write a piece of poetry or prose which begins with one image, scenario, line of dialog or place and ends with another, and an optional additional requirement.

Begin With: Someone (poorly) singing a song about a river (original or famous).

End With: A leaf or piece of debris floating on a river.

Extra Credit Requirements: Include, somewhere in the first two paragraphs/stanzas, the phrase "brand new"; and somewhere in your piece include the words: "Loosened" "Flew" "Iodine" "Clotting" and "Helpless".

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If you'd like some unobtrusive background music try this "Emotionally Faded" lofi playlist.

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