Tag Archives: poetry

Scifaiku: LasChamp Event

laschamp event (blog)

LasChamp Event
people of ancient dawn
survive thousand year shift
polarity change

A Scifaiku by Wendy Van Camp
Illustrated by Wendy Van Camp

Scifaiku poem inspired by the current trend of the weakening of the magnetic north. Science postulates that the Earth’s poles might flip again, as it has done 41 thousand years ago. This geomagnetic switch of the past is known as the “LasChamp Event”. Our ancestors survived the change, but one wonders at what cost will it come to us?

 

Memoir: The Poet In Spite of Herself

The Poet In Spite of Herself

I stood before the audience, my notebook open as I prepared to read an excerpt from my novel The Curate’s Brother. It is a historical romance based off of Jane Austen’s novel Persuasion. It was one of many readings that I would do to promote my new book that year. The moderator of our panel gestured to me and said, “I present to you our next reader, author and poet, Wendy Van Camp.”

I remember blinking and tilting my head to one side, like a puppy that is not quite sure of a knock at the door. I do write poetry, but until that moment I never considered myself to be “a poet”. In those few seconds, before I began my reading, I had an epiphany. The moderator was correct, I am a poet! The irony was not lost on me.

When I was in grade school, I remember saving money from my allowance in order to buy a notebook that had caught my fancy. It had a green cover with gold foil embellishments and the pages were smooth white paper without lines. I put the notebook in a place of honor among my growing book collection, but could not decide what to do with it. Then it hit me. I would fill the notebook with poetry. I had never written a poem before, but how hard could it be? I was already writing novels, stories filled with Tolkien style dwarves and elves or mermaids who did battle with titans. Not that anyone read the stories but my own young eyes.  Poetry would be compatible with my childhood dream of becoming an author when I grew up.

I cradled my green notebook late at night and sprinkled the pages with little ideas that came to me in my dreams. After I had written a dozen poems, my younger brother swiped the book from my room, read my words and then proceeded to mock everything that I had written. I wilted in embarrassment. My parents mentioned that I shouldn’t be wasting my time writing in the first place. I put the recovered green notebook deep into my stacks and forgot about poetry. I continued writing my novels, but since poetry didn’t make money and was not respected, it would not be part of my life.

The years went by and after graduating college, I found myself working in government and corporate television.  My idea of becoming an author shifted into a dream of becoming the next big director in Hollywood. By this time, I had spent the past five years producing and directing a half hour band showcase series called Musician Discoveries in addition to working full-time at the local cable station. Bands traveled from other states for the chance to perform on my studio stage and be featured in my low budget, labor of love.

After going through a few different hosts for the program and the threat of our studio losing its funding and thus losing access to its equipment, I decided that it was time for a change. I ended my musician series and took my programming out of the doomed studio. Instead, I purchased an expensive prosumer camera and software to edit video on my home computer.

The equipment needed to produce television was thousands of dollars in those days and there was no such thing as YouTube or even the Internet to distribute the work. I would have to leapfrog the program on public channels, hand delivering the broadcast quality tapes to the cable outlets. Yet, I felt it was time to go rogue and create television on my own terms.

I needed a new art form to showcase for the new TV series. Music had been kind to me, but I was tired of it. I thought about paintings. The cliché of being “as boring as watching paint dry” nixed that idea. Then I considered poetry. While I had not written a poem since perfunctory assignments in high school, as a director, I didn’t need to create the content. That would be the talent’s job. Readings were dynamic, the performances would be easy to capture and the thought of shooting on location in the various coffeehouses in the city was appealing in its own right. I put the production together and marched forth, a young intrepid television director with a dream to share poetry on my new program Coffeehouse Poetry.

Realty hit hard and fast. The coffeehouses would cancel my shoot time without informing me. One went out of business and I didn’t learn about it until I arrived a few hours before production. Editing on home equipment was more difficult than the broadcast quality machines I was used to.  I was used to editing on analog equipment and my new home studio was in the then-new digital style.  I was never happy with the production values I could afford on my small budget.

And then, there were the poets.

Never had I worked with such unruly creatives in my life. They were demanding, rude, and unreliable. As the months went by, I sunk lower into depression as each setback destroyed my program.  Every time I received a rude letter or phone call from one of the poets, I felt myself give up a little more. The musicians I used to work with for Musician Discoveries understood the value of exposure that television offered.  The poets did not.  In the end, I produced around a dozen programs before I closed my doors. I bitterly swore to myself that I would never work with poets or have anything to do with poetry again.

Fifteen years later, I found myself shifting away from the long hours and stress of professional television production.  Many of the corporations I worked for were sending their work overseas to Japan or Thailand where labor and studio space was less expensive than Los Angeles.  The major studios remained, but I was facing burnout and the thought of the long commute into the city was daunting.

I remembered my original dream of becoming a novelist. My hiatus from writing was twenty years in length, but thanks to intensive training via Nanowrimo, I learned the techniques of writing books and how to market them.  Science fiction is my main genre, but as a side project, I started an Austen inspired romance series.  Since the romances were easier to complete, I published this series first and became known as an Austen inspired romance author.

During my early years of returning to writing, an author friend suggested that I give poetry a try in addition to the short stories.  Due to its brief form, I could write plenty of them, submitting to more paying markets or use the poems as easy blog posts.  I thought about the idea but cringed inside.  The scar that Coffeehouse Poetry left inside me was a large one.  I put the idea aside.

One Friday afternoon, after I had finished placing my wares into a science fiction convention art show, rain threatened overhead. The heat was oppressive in the atrium next to the art show where all the workshop/panel rooms were located. I had planned to stay for the ice cream social that evening, but it was several hours in the future. A writing panel would help to pass the time until the social event started.

I looked at the placards in front of the workshop doorways, but it was early in the day and most of the programming had not started at the convention. However, there was a scratched-in workshop available and its room was close to where the ice cream social was located. I ducked inside.

There were six or seven people in the room, I assumed that they were fellow attendees who would join me in the workshop. The placard said that this was a Scifaiku workshop. I had no idea what that was, but as long as the air conditioning worked and there was ice water available, I was game to give the workshop a try.

The instructor introduced herself and then informed me that all those people in the room were friends that had come to support her class. They were publishers of poetry magazines. I was the only student and she was going to teach me how to write scifaiku poetry.

I immediately wondered if I could get out of the workshop gracefully, but being the only student, I didn’t want to be rude. So I sat back and watched methods of brainstorming poems, ideas of how haiku and science fiction could be merged, and the structure to follow when writing a scifaiku poem.

The instructor said, “Now you will write a poem for the class.”

Me? Write a poem? I hadn’t done this since high school and that was a long time ago. I could hear my brother laughing deep in my memory.  I remembered the poor grades I got in high school during poetry assignments. Yet, I had the format and the brainstorming techniques before me on the blackboard.  I was a writer of science fiction short stories and had the background research of sci-fi concepts ingrained within me.  How hard could this be? I wrote my first scifaiku, the first poem I had created in more than twenty years.

When I was done, the instructor said. “Now, I would like you to read your poem to the class.” I looked around. What class? I was the only student! All the other people in the room were publishers of poetry magazines, some of them with large followings.

I stood up. I read my poem. I sat down.

The instructor said a few words about my attempt. Then, one of the publishers leaned over and told me that she liked my poem and wanted to publish it in her magazine. She would pay me. I took her card with shock.

That would be the first scifaiku I wrote, but not the last. I sold that poem and many more after that. Later, I would illustrate the poems with simple line art and that published too. Then someone suggested that I sell the illustrated poems as art prints and suddenly, I was “an artist”.

Now here I stand, with my notebook before me, ready to read my prose to the audience and introduce my novel.  The ironic laughter within disappears in the face of reality.  I am now the author that I dreamed of being as a child through hard work and dedication. And yes, I am a poet too. As strange as it seems to be after all the ridicule this art form has caused me through the years.  I am the poet in spite of herself.


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Scifaiku: Wendy Van Camp Published in Far Horizons Magazine

Far Horizons Cover february-2018

 

Far Horizons Magazine publishes my (4) poem scifaiku poetry series “Energy of Mars” in their 2018 February Issue. The magazine features science fiction, fantasy and horror stories and poetry and is free to read online. This issue is in cooperation with the small press: Grimbold Books. Come check it out!
https://farhorizonsmagazine.files.wordpress.com/2018/02/far-horizons-february2018-issue.pdf

Scifaiku: Core

Core (blog)

Core
you never disappear
great protective magnet
Earth’s iron soul

A Scifaiku by Wendy Van Camp
Illustrated by Wendy Van Camp

Scifaiku poem inspired by the current trend of the weakening of the magnetic north. Science postulates that the Earth’s poles might flip, as it has done in past ancient eras.

Poem first published: Far Horizons Magazine, July 2017

Components of Your Poetry Chapbook

Poetry Book
Photo by Thought Catalog on Unsplash

As a poet, I write and submit my poems, much as I do my short stories. I write a batch of scifaiku, submit it to various magazines and hopefully, see most of it published. As an artist, I take the second step of illustrating my poems and turning them into blog posts, illustrated poems to publish in magazines or to sell as art prints at science fiction conventions. I have a dream to one day create a collection of my poetry to sell as a poetry chapbook.

Whether you submit your collection to a traditional publisher or plan to self-publish your manuscript, there are certain elements your manuscript will need to be ready.

Title

You will need to decide on a title for your collection of poems. Think about the theme of your work and what poems you are going to include in the collection. This will help you determine a good title for your chapbook. I often suggest to make a list of possible titles, pick out three or four favorites from the list and then double check the names on Amazon. See how many other books have the same title as your book. If there are none or only one or two, you have made a good choice. Be unique.

Author Name

Do you use your real name or a pen name for your work? Today, this is not an obvious choice. I know of authors that have different pen names based on the genre or type of writing that they do. Sometimes I wonder if I’m the last author on Earth who uses her real name on everything! Be aware that potential readers are more likely to purchase your book if they recognize your name. Branding yourself as a poet is important. It helps to have published your poetry in magazines for a few years or even to have won an award before you publish your first poetry collection.

ISBN

As with a regular book, owning your ISBN number is an advantage. If you traditionally publish via a small press, they will handle this for you by placing their own ISBN on the collection. If you self-publish, purchasing the ISBN is a good idea. This means that your own imprint is listed as the publisher of record of your chapbook. It gives you more control over the product in the long haul. It is possible to use Amazon’s free ASIN number on your book and if this is your first volume, that might be a good option. You can reassign an ISBN at a later date to your book if need be.

Acknowledgments

This is not a mandatory page in your chapbook, but it is a nice touch to have. It is where you might credit literary journals that first published your poems or a mentor that helped you find your way as a poet.

Table Of Contents

A linkable (in the case of an ebook) table of contents is important in a chapbook. The order in which the poetry is read is part of the overall experience of a chapbook. Unlike a novel, poems could be read out of order and still hold meaning to the reader. Do you want to move the reader in a steady emotional progression? Do your poems tell a story and need to be read in a certain sequence? If some of the poems are related, do you group them together? As you go over your body of work and make decisions which poems you will include in the collection, these ideas need to be decided upon and then reflected in a cohesive index that the reader can follow.

Biography

At the end of your chapbook, include a short Biography of yourself as a poet. Most books have only a paragraph or two. If you have a website, make sure you include its URL. If you have a mailing list, include the link where a reader could join it. In the ebook, the link will be clickable. However, I like to include a QR image of the links here as well. In a print version of your chapbook, these can be accessed by the reader’s phone and take them to the link more easily.

Book Cover and Blurb

A picture says a thousand words, or can possibly sell a thousand books. Put time and energy into your chapbook’s cover. Find a compelling licensed image that speaks to the theme of your presented poetry to use, or hire an artist to create one for you. On the back of the book, you will also need an image, but there you will include a blurb about your chapbook. Tell the reader what they can expect to find inside in a way that would intrigue them to open your book and take a peek. This is a good place to include your poet photo if you wish. I usually do not include photos of myself as an author or poet on my books, but it is an option for you to consider. Many poets do.

Publishing a chapbook of poetry is similar to publishing a book, although a poetry book is usually a slim volume. In some ways, it is more difficult to create than a fictional book because of all the tiny components that come together that may or may not be related to one another. Putting together a book of poetry is an art in itself in addition to writing the poems in the first place. But overall, the advent of modern Print-on-Demand publishing has made the act of creating a chapbook and selling your poetry much easier than it was back in the days of vanity presses. As a poet, you have little to lose and much to gain if you think carefully about the components of your poetry chapbook and publish your poetry to the world.