Recently, Pegasus staffer Rebeka Fallin spoke with author Justin Evans about writing, the role of inspiration in a writer's life, and poetic research as well as Evans' new book, Hobble Creek Almanac. Find out more about Justin Evans and his writing at his blog, Name This Place.
1. What inspired you to write Hobble Creek Almanac? I know that you are the founding editor of a journal called Hobble Creek Review. Is Hobble Creek a real place?
First, thank you for asking me to answer a few questions regarding my book and process. Right now I am in a bit of a dry spot and I am about to start getting back into the swing of things, and this has always been a good way for me to get thinking about my writing.
Hobble Creek is certainly a real place from my past. It's the small creek which runs through the town of Springville, Utah, which was originally named Hobble Creek by the Mormon settlers who came to the area in 1850. Of course, you would probably need to look up Springville on Google Maps and Wikipedia to get any sense of what the town is like. When I was growing up in Springville, it was not yet a commuter/sleeper town and most of my social life revolved around Hobble Creek. The creek cuts right through the town, so there were very few people whose geography and recollection of Springville was not affected by the creek. My friends and I would float down its waters every day we possibly could, stopping to hand fish for trout along the way. We would go up into Springville Canyon and camp next to the creek. Every autumn, driving into the canyon to see the leaves catch fire was compulsory.
I was inspired to write this book after I had exercised a lot of personal demons in a previous manuscript scheduled to be published later this year. I had returned to a place my heart really loves---that of landscape meditation. However, I had already written a book of landscape meditation about Springville, so I knew I needed to write something with a difference, so I set about to employ both history and narrative into the structure of this book. I suspect I have at least one more book about Springville left in me, and I hope it is as much a departure from Hobble Creek Almanac as HCA was from my first Springville book.
2. A reader can easily see the influence of poets like E.A. Robinson and Edgar Lee Masters on your work, given the focus on a particular place and the people who inhabit that place. Is there a poet whose work provided a model for you in Hobble Creek Almanac?
There were a lot of poets who helped provide a model for this book. I am flattered you mention Robinson and Masters. I really do think if you are going to write about any group of American people, you owe certain poets a nod, and these are two of the most important in that sense. In a more direct sense, however, I modeled part of my book after Wendell Berry's Sabbath poems. I did not take literally from his structure, but the idea of them, the need to look at something from a specific window of time. I also owe a great debt to my friend David Lee, who is sometimes called The Pig Poet. He has devoted a tremendous amount of his writing to present the lives of the people and places from his past. He is the one who got me started down the path of allowing myself to write about these things so many years ago. His book My Town won the Western States Book award, and was a landmark in my poetry education. Finally, I would be remiss to not mention William Kloefkorn. From him I learned how to contextualize a single subject into many different poems. His Alvin Turner as Farmer and ludi jr. really were an education in and of themselves.
3. What kind of research did you do for the book? Where did you find all of the information that you used in the poems?
I started with the things I knew about Springville, or rather the things I though I knew about Springville, and then looked ate gaps between those two things. My Bachelor’s degree is in history, and I don’t mean to sing it too loudly, but I learned what real research is from some really good professors. Research always begins with questions, ad so I started asking questions about those gaps in my consciousness. Then I started reading. My dear friend, Ben Smith, gave me a 1973 reprint of a history written by the son of Springville’s first patriarch, Aaron Johnson. Don Carlos Johnson’s 1900 book was a wonderful source, but when reading such books, you have to be able to look past the bias of times, familial relations, and the overwhelming predominance of the Mormon religion which colors most everything in early Utah history. There were other books, too. One of the residual benefits of writing about early Utah history is the sense of history most Mormons have. There really is no shortage of historic material when one wants to research something. My grandmother had Mary Chase Finlay’s 1947 history, and my sister gave me a copy a book of G.E. Anderson’s photography, written and edited by Rell G. Francis. These were the core texts from which I drew historic names and events. I also began making contact with people who were part of the Springville Historic Society. The Daughters of the Utah Pioneers (of which my grandmother and several other relatives are members) runs a museum specifically focusing on the History of Springville, as doe may other chapters, or camps, do for their own towns.
During the initial attempts I made in writing the book, I had convinced myself I was supposed to write a book with long, narrative poems interspersed with shorter, lyric poems which would focus on landscape meditation. I was completely wrong. It took a while, but I abandoned that plan and went with my strengths. Part of that was coming to realize I needed to have a book which covered the timespan of Springville. I needed to structure the book in such a way where there was a continuous thread to illustrate the unbroken chain which is the generational transition from the town’s founding to what I knew as a child. The most direct way to do that was to talk about my family, which I had done before in previous poems, but I wanted the book to be a book anyone in Springville could relate to, so I had to find a surrogate. I found that character in Achilles Blanchard. He was a contemporary of my great-grandfather, and it turned out he was also a poet. I began to research Achilles and create a hybrid fictional character, giving him the experiences from my own family history and that of his, as well as some imagined events to create a central figure for the middle section of my book. The more I researched, the more I knew he was a natural fit or what I needed.
Putting the reading and research together is another thing altogether. One of the poems in the book deals with a double murder early in Springville’s history. A lot of the information regarding the events was hushed and buried. I had to do a lot of searching, e-mails, and parsing between the biases of various writers and reports. Thank goodness for the internet, too. From the comfort of my home I was able to read many different version of what happened, and e-mail back and forth with legitimate historians who had conducted a considerable amount of research of their own and were willing to offer their insights to me. It may not sound like it, but this was actually a lot of fun for me. Untangling this particular riddle made for a truly pleasing experience as I was writing and revising.
Anyone reading my book will not be able to do so without running headlong into footnotes. I saw footnotes as a necessary part of the composition of this book. The book is full of found poems or so-called found poems, poems which relate real life events and events which are partially true. One of my goals is to present a tapestry for the reader, a record which presents a story with varying degrees of truth, half-truth, and outright fiction. If I have done my job well, the reader will not know with any certainty where those lines are blurred. This lets me reveal my admiration for Tim O’Brien and his novel, In the Lake of the Woods.
4. What was it like assembling the manuscript? Did you have an overall narrative arc in mind?
Assembling the manuscript was easy for me. In truth there were very few questions of an aesthetic nature which were not almost immediately answered. Of all my manuscripts, this one was the easiest for me to organize.
My first consideration was to break the book into sections---something I have never done before. Once I knew the rage of those sections, it was as simple as wanting to tell a story and finding the most interesting way to tell it. If you want to get technical, it’s based upon Aristotle’s idea of a beginning, middle, and end. The first section would be how the town was established. This decision required certain poems and excluded others. The second was the middle period, expressed by the Achilles Blanchard poems I had written. The final section is where I left the town as I entered adulthood, a description of how I knew Springville.
5. What advice would you give to writers looking to have their book published?
Of course every poet’s advice to other poets has the universal caveat of what I know is based upon my own experiences, and as such should also be universally ignored. With that in mind, these are some of the things I have learned over the course of my very fortunate publishing life.
First, write because you love it, not because you want to get published. As writers we all want to share our words with others, but if you allow yourself to become obsessed with getting a book published, you will expend a tremendous amount of energy worrying about something for which you have very little control. It is best to expend that energy on making your manuscript the best it can be. I am not saying you shouldn’t seek publication, just don’t be wasteful with your energy.
Next, because this is advice related to the specific process of getting a book published, I will advise you to research the places you want to submit your manuscript. I and many other poets have spent a lot of money on contest fees and reading fees, hoping for our manuscripts to be accepted for publication. Right of the bat, research helps you to save money, because if you know the personality of a press (by reading their web pages, the bio’s of editors and judges, and even a quick look at a few books published by the press) you should be able to know whether you are on the right track. Even 10 minutes of research can save you $25-$40, simply by recognizing your manuscript will most likely not be selected. This takes a little bit of an ego adjustment and acknowledgement you book probably doesn’t have a reasonable shot at the Walt Whitman Prize or the Yale Younger Poet Prize. It’s not about lowering your expectations. It’s about taking the time to align you and your book to those presses you feel confident in submitting your work. Having a positive working relationship with my editor is in my opinion much more important that what name appears beneath mine on the title page.
And it is work. Never let anyone tell you what you do is not work. You have to believe in your manuscript. You have to forgive and ignore the ignorance your friends and family might express, dismissing your work as a mere hobby. They will not understand the very real emotional connection you have with not only the work you create, but the process by which you create it. The public acknowledgement a book represents is powerful, but it will mean nothing if the only reason you want a book is to show it off. If you are a serious writer, the books will come in time. Overnight success only takes ten years.
And yes, I know how it sounds for me to say things like this sitting where I am sitting, having had so much good fortune for the past nine years of my writing career. Please remember this about me: I started to get serious about my poetry in 1990. My first poems were published in 1994. It was three years before I had another poem published in 1997. It was another three years before I had another poem accepted for publication in 2000. My first chapbook was published in 2005. It takes time, and looking back now, I am thrilled it took as long as it did.
* * *
Justin Evans was born and raised in Utah. After high school, he joined the U.S. Army, where he served in Texas, Germany, and in combat during Operation Desert Storm. After, he spent the remainder of his enlistment at Ft. Bragg, North Carolina. Upon being discharged, he returned to Utah, marrying his wife, Becky. He also continued his education at Utah Valley University, studying Humanities, and Southern Utah University, where he graduated with a degree in History and English Education. After serving as an adjunct writing instructor at UVU, he took a job teaching a variety of history and language arts classes in rural Nevada, where he still lives today with his wife and their sons. Justin's poetry has been collected in four chapbooks (Four Way Stop, 2005; Gathering up the Scattered Leaves, 2006; Working in the Bird House, 2008; and Friday in the Republic of Me, 2012. He is the author of Town for the Trees (Foothills Publishing,2011) and Hobble Creek Almanac (Aldrich Press, 2013). His third full length collection, Sailing This Nameless Ship, is forthcoming from BlazeVOX. Justin edits the online literary journal, Hobble Creek Review.
This prompt was suggested by Pegasus advisor, Sandra Giles.
Write a short piece of flash fiction that undoes or undercuts a realization that a character has had. The story should begin with the character realizing that something he or she realized is wrong. This realization might be something simple (“I left my keys in my office”) to something more profound (“My mother really didn’t love me after all"). Whatever the case may be, the beginning of your flash fiction piece should make it clear that this character has only recently come to the realization (perhaps at the end of an unstated, yet presumed, other narrative).
Too often, short fiction turns on a sudden epiphany that a character has or a pat realization at the end. These stories are often great writing, but they don’t do much to interrogate the form of short fiction. Plenty of postmodern writers have written fiction that subjugates and undercuts the tropes of storytelling (Borges, Barthes, and others). This writing prompt (Against Epiphany) is designed to force writers away from the standard narrative fiction bag of tricks.
If you’re a Georgia high school or college writer, we’d love to read your work. Write your story and submit it to Pegasus by the February 28, 2013 submission deadline date: https://pegasus.submittable.com/submit
Feel free share and forward this prompt.
Creative writing teachers and poets have been using a version of this exercise for years. Robin Behn and Chase Twichell published a variation of it in their excellent anthology of writing exercises, The Practice of Poetry. Pegasus faculty advisor Jeff Newberry has modified it further, including a foray into Google Translate in an effort to make the language more textured and strange.
If you've written a new poem, why not submit it to Pegasus?
Pegasus, ABAC’s award-winning literary magazine, is kicking off this year’s Writers’ Harvest. Each year, Pegasus sponsors Writer’s Harvest, a canned and nonperishable-food item drive that culminates with a reading by an invited poet, essayist, or fiction writer. In previous years, readers have included ABAC Writer-in-Residence Janice Daugharty, Niles Reddick, Mark Leidner, Andy Frazee, Morris Smith, and Billy Reynolds.Pegasus is proud to announce this year's featured readers, Mary Jane Ryals and Michael Trammell.
Mary Jane Ryals is the Poet Laureate of Florida's Big Bend Region. She brings the world of poetry to schools and literary events in Leon, Wakulla, Jefferson, and other north Florida counties. Her latest book of poems is The Moving Waters, published by Kitsune Press in 2008. Ryals has been involved with the Poetry Out Loud National Recitation Competition, Florida State University's Valencia, Spain Study Abroad Program, the Tallahassee Writers' Association Festival of Books, and the literary magazine Apalachee Review.
Michael Trammell is currently the editor-in-chief of the Apalachee Review and formerly hosted and coordinated the Anhinga Press/Apalachee Review Reading Series at the 621 Gallery in Tallahassee, Florida. His work has been published in New Letters, The G.W. Review, The Chattahoochee Review, Pleiades, The Southeast Review, Poet Lore, Gulf Stream Magazine, the Lullwater Review, The Nebraska Review, the Orange Coast Review, Permafrost and other journals. He's a Research Associate in Business Communication at Florida State University's College of Business. In the summers he and his wife teach writing, literature, and business courses for FSU's Valencia, Spain program.
This year’s Writers’ Harvest Reading will be on Thursday, November 1, 2012, in the Peanut Museum at the Georgia Museum of Agriculture at 7:00 p.m. The cost to attend the event is one canned good or nonperishable food item.
All canned and nonperishable food items are donated to Brother Charile’s Rescue Mission here in Tifton.
Donations of canned goods and nonperishable items can be dropped off in my office (Conger 309), Sandra Giles' office (King 2E), or at the Pegasus office (Branch 313). If you cannot make it over to one of these drop locations, please call Jeff Newberry's office (Campus Extension 4972), and he will be happy to come and get them.
Dried peas or beans
Canned fish or meat
Beef stew, chili and similar canned meals
This prompt is the first in what we hope will be an ongoing feature here at Hoofprints. This week's writing prompt/exercise is meant to generate a creative nonfiction essay, though it could easily be modified for fiction or poetry. Feel free to forward this prompt and post it on Facebook or Twitter.
Exercise: The Segmented Essay in Five Paragraphs
When you're finished typing (or writing) all of these paragraphs, put them away for at least twenty-four hours. Then, print out the entire document and take a pair of scissors to cut the paragraphs into five separate blocks. Working alone or (preferably) with another writer, move these blocks around, reading the essay aloud each time. Pay attention to the unintended (or perhaps intended) connections. Look for unity. Look for incongruity. Pay special attention to the silence--what you're not saying, what you might be leading up to saying. Revise the essay accordingly, writing more or less as you see fit. Keep the segments, however. That's the whole point of this exercise--to see how these images and narrative work in juxtaposition.
This is a useful exercise for mining the subconscious. You might be surprised at what you wind up with. If you find that you're happy with your work, be sure to submit it. Are you a Georgia high school student or undergraduate? Then submit your work to Pegasus!
Pegasus is pleased to inaugurate a new feature here at Hoofprints, "Five Questions." We're honored to launch this interview series with Lynn Wallace.
Lynn Wallace lived in Costa Rica several years as a boy, and after receiving an MA in English-Fiction Writing from the Pennsylvania State University in 1986, he was awarded a Fulbright to Costa Rica for fifteen months, during which he taught at the University of Costa Rica, wandered the backcountry, and worked on several writing projects. One of those works was a memoir, an excerpt of which was translated into Spanish and published in the literary supplement of the daily La Nación, and installments of which have been published in Postcards from Pottersville, Kalliope, and elsewhere. Most recently, some of his poems have appeared in the Atlanta Review.
He is the author of Wound in the Sun (Pottersville Press, 2010) and the novel Los Caminantes (Pottersville Press, 2005), which won a prize in the novel category at the Florida First Coast Writers' Festival in 1992.
In 2002-2003 he served on the fellowship grant review panel in the area of media arts for the Division of Cultural Affairs of Florida, and has been reappointed by The Secretary of State as a grant review panelist in media arts for 2005-2006.
Currently, Lynn Wallace serves as an Associate Professor of English at Gulf Coast Community College, Panama City, FL, where he teaches creative writing, literature and film, among other courses. He serves as the chair of Faculty Council, 2005-2006, and is long-time advisor to the Muslim Student Association. He resides in Marianna, Florida.
Pegasus advisory editor and faculty advisor Jeff Newberry had the distinct pleasure of being one of Wallace's pupils in the early 1990s. Recently, Lynn spoke with Jeff about Wallace's collection of poems, Wound in the Sun. Jeff's questions are in bold.
The poems in your book Wound in the Sun are invested in images and recall not only Deep Image poets like Robert Bly, but also writers like the Japanese Haiku master Issa. You even include a poem that directly addresses Issa. Can you discuss the influence that haiku has had on your own poetics?
You are right to think that images have a great deal to do with my poetry. I wonder how it could be otherwise. Poetry without images is akin to a bird without wings. Even flightless birds have wings. Of course, poems can have many kinds of wings, the sonorous, lyrical, lilting, referential qualities, too, but images are surely the best of all flight feathers and articulated bones that comprise wings. Haiku provide a perfect opportunity for a mini-lab in the application of many of the attributes of poetic language. If students can see into the heart of a breath-poem of seventeen or fewer syllables, then they can launch themselves off the tall cliffs over the rocks and surf below in a poetic flight of any length, short or long. I am perfectly aware that among accomplished poets, often an effete snobbery exists, and too many poets in Western culture believe that only more is more; therefore, haiku cannot provide anything serious, they are playthings, they are a triviality, no being brash, and loud, and long . . . a pity. The truth is that an accomplished haiku is a wonder to behold. If students can see the light through the prism of one stunning haiku, then they will look to endow their poems with such effects in a single line, in pairs of line, in stanzas, and in complete 30-line poems, wherein every words serves its purpose and every word counts. I never tire of the miracle of language that is a haiku, providing first-hand instruction in concision, compression, juxtaposition, and in the suggestive power of language.
You’re a teacher as well as a writer. Does one feed off of or inform the other? In what ways (if any) has being a teacher helped your writing? In what ways has being a writer informed your teaching?
If one wants to know a subject well, teach it. Teaching writing continues to hold my feet against the sizzling sides of the furnace. What do you mean? What are you trying to say? What does any of this amount to? For one who teaches, the answers must always be forthcoming and must always be renewed. Teaching writing and especially commenting on the writing of others has made me a careful reader. This acquired skill is useful not only for my students but it is invaluable for me and my own work. I’ve had to become a good editor. Working as a writer has validated my teaching, it seems to me. It has leant me authority and credibility. I don’t know everything about writing—no one does—but I know enough to be a guide for others. I know enough to tell them where the landmines are. I know enough to recognize the place where encouragement slides into indulgence and where criticism becomes so harsh that it wounds. All this is about the subtleties of communication, and those skills, learned one way or another, are also what writing is about.
Putting a collection of poetry together is a daunting task. One has to find the right order, and seeking out that organic order can be challenging. Did you have a particular trajectory in mind when you collected the poems for Wound in the Sun?
Putting together a collection of poetry is daunting. It is not as though there is one and only one sequence of poems, and if the poet labors faithfully enough, then that order will present itself. There are many possibilities. Yes, there can be groups or sub-groups around themes and the like. Honestly, each poem’s voice is primary, and next comes the kind of sparks or contrast or support or flavor that comes from having one poem next to another. Some poems are gestational, so maybe they should come early in the book. Maybe the poems will move from light to dark or vice versa. I have a sequence of poems starting with “A Boy,” then “Boy at One,” from birth to age five or six—whenever it was that I abandoned him. I could have grouped these, but then I thought, no, it’s all right to spread them out; the reader will manage quite nicely; I’ll only keep the Boy poems in chronological order. The only other rough ordering principle had to do with my own “closeness” to certain poems. I felt that the order was something of a history of the experiences behind some of these poems and a history of my engagement with certain ideas, matters of faith, the loss of faith, and the recreation of a different kind of faith, for example. I deliberately dropped a table of contents because I wanted a reader to find his or her way, to find places to rest, really to start and stop wherever he wished, and to have to find his way back to certain places on his own. I didn’t want to provide a road map. Though appearance might suggest that I was restrained, if not deliberately unhelpful, in terms of order and layout, I would underscore that the layout definitely wasn’t random. Layout and order isn’t chaos theory and it isn’t furniture assembly instructions and it certainly isn’t every little jar and canister lined up, label out, in the spice rack. Too much order and control is probably as much to be avoided as no order and control at all.
Who are some writers that you turn to for inspiration?
Poets who continue to inspire me are varied and numerous. A list is going to leave some out, but I have to name certain sure voices: Elizabeth Bishop, Robert Lowell, Randall Jarrell, Philip Levine, Gary Snyder, Charles Collins, Charles Simic, W. S. Merwin, and of course Whitman and Dickinson. I must mention a pantheon of prose writers: Shakespeare, Stern, Conrad, Thoreau, Austin, Faulkner, Hemingway, Camus, Cortazar, Blanchot, and writers nearer our time, like Raymond Carver, Robert Coover, Joyce Carole Oates—many others.
What advice would you give to young poets or writers?
Young poets and writers should be patient. They should be willing to live with the notion of apprenticeship, learning as much as they can about the craft, and continuing to learn as long as they dare write. Really, writers must read a great deal. I’ve never yet met a great writer who wasn’t a great reader. And the last advice is to write regularly and often. I have nothing to say about fame or notoriety. These matters are to a large degree unpredictable, and they should never be our first concern. Writing is a habit of mind, a way of thinking. One must face the blank page and blank screen again and again . . . and feel blessed to have a marvelous opportunity. We write as though we have no choice, and it may very well be that we don’t. After that, everything IS choice, so write.
Note: This article was originally posted at Muse of Fire, Pegasus advisory editor Jeff Newberry's personal blog (http://www.jeffnewberry.com/Submissions-Are-Open).
Abraham Baldwin Agricultural College’s literary magazine, Pegasus, is now open for submissions to the 2012 issue of the magazine. If you’re a high school or college student currently enrolled in a Georgia high school, college, or university, then Pegasus wants your work. Please visit http://pegasusliterarymagazine.weebly.com/submit.html for full guidelines.
Many young writers are new to the submission process and are often unaware of the various ground rules and unspoken expectations that go along with submitting to literary magazines. Below, I’ve listed out a few of these conventions for newbie writers who might need this kind of information. Veteran writers: please correct or add to these suggestions in the comments below.
Formatting your submission: For poetry submissions, put only one poem on a page. Typographically, space out your poem exactly as you would like to see it in print (don’t double-space unless you mean it). If your poem is longer than a page, use brackets to note stanza breaks (or lack thereof). Use a standard 12-point font (no Comic Sans). Be certain that your contact information appears on each page of poetry.
For prose submissions, double space everything. Be certain that you include your contact information on the first page. Number your pages.
For art submissions, we at Pegasus require high-quality .jpeg or .gif files (300 dpi). This means that you can't send us a picture that you took with your cell phone camera. Visual and plastic artists: send us high-quality digital photographs of your work.
Cover letters: In the publishing world, some editors like cover letters and some don’t. To be safe, I always include a cover letter with all submissions. At Pegasus, we like cover letters because we want to know a bit about the writers we’re publishing—a cover letter is an easy way to see if a potential author is eligible for publication in our journal. Cover letters shouldn’t be overly-long. Something simple is much better than a long list of everything you’ve ever done. You might write something like:
Dear Pegasus Editors,
Per your submission guidelines, I’ve uploaded my story “Bat’s Belfry” to Submishmash as a submission to Pegasus. Currently, I’m a sophomore English major at Georgia Southern University. I hope to one day be a high school English teacher. Last year, the literary magazine Jump It published my poem “Robin’s Egg.”
Thank you for reading my work. I look forward to hearing back from you.
Short, sweet, respectful, and to-the-point: a good example what we at Pegasus expect in a cover letter. Submitters can feel free to address the cover letter to Matt McCullough, the current managing editor, or to me, Jeff Newberry, faculty advisor and advisory editor.
Note: some literary magazines want you to write your bio in third person; others don’t specify. If you’re really confused about how to write one, take a look at some contributors’ notes online. Mimic what you see there.
Response time: Pegasus is a yearly publication. We publish each spring to coincide with Abraham Baldwin Agricultural College’s annual celebration of the arts and humanities. Although submissions open in August of each year, we don’t make any decisions until January, usually. This means that once you’ve submitted your work, you may not hear back from us for a pretty good while. Don’t worry; we’ve not lost your submission. We’ll get back to you as soon as possible. Some pieces we accept very quickly; with others, the decision can take a bit of time.
Writers should resist the temptation to email any editor about the status of a submission unless four-six months have passed with no contact from the magazine. Asking about the status of a submission isn’t necessarily wrong (though some journals expressly ask writers not to contact the editor until a certain amount of time has passed). Rather, emailing the editor might result in a quick rejection. The editor might think, “Well, we were on the fence about this submission, but clearly the writer has had some luck placing it elsewhere.”
And please, don’t call to ask about your submission.
Simultaneous submissions: As a writer, I rarely send to a place that doesn’t accept simultaneous submissions, a term that means the journal allows writers to submit the same manuscript to them that the writer has sent to others. This way, the writer has to contact all the other journals to withdraw the manuscript, should it be accepted.
Because Pegasus uses Submishmash, we have no rule against simultaneous submissions. Writes just need to log in to their account and withdraw any manuscript accepted elsewhere.
Read the submission guidelines: By this I mean, read the submission guidelines to any journal to which you’re submitting. Treat the guidelines like Gospel truth.
I hope these tips help clear up a few things for the newbie writer hoping to place her manuscript with a journal. These suggestions aren’t meant to scare away potential authors. Understand that editors want to read your work. However, as a young writer first starting out, I had no idea how to submit. I’m merely trying to make explicity what so many editors and writers assume is common knowledge.
Please, send your work to Pegasus. And please, spread the word to other writers. We’d love to read your writing. Visit http://www.abac.edu/pegasus for more information.
Come out and join Pegasus editors, staffers, and advisers for the first of the 2011-2012 Open Mic Readings, a monthly opportunity for writers from the ABAC community and Tifton, Georgia. The event will be in Bowen Hall here on ABAC's campus and start at 7:00 p.m.
Readers are invited to bring either original work or work that inspires you. Please limit yourself to 5-8 minutes.
Musicians are invited, too. Acoustic only.
For more information, contact Pegasus faculty advisor Jeff Newberry at email@example.com.
Spread the word and invite your friends.
Pegasus submissions for the 2012 issue are open. Advisory editor and Associate Professor of English at Abraham Baldwin Agricultural College has some advice for potential authors and artists at his blog:
Abraham Baldwin Agricultural College’s literary magazine, Pegasus,is now open for submissions to the 2012 issue of the magazine. If you’re a high school or college student currently enrolled in a Georgia high school, college, or university, then Pegasus wants your work. Please visit http://www.abac.edu/pegasus/submit.htm for full guidelines.