Published by Poetry Editor on February 22, 2016. This item is listed in Helpful Articles, Issue 29

Translation Notes

Else Lasker-Schüler’s poetry features a glut of musical phrasing and playful made-up words, with the occasional pun and outright nonsense syllables. While it’s difficult to translate, it also feels like an invitation to be playful myself.
“Sphinx” uses some of the devices and ideas that Schüler turns to over and over again in her poetry. There’s the idea of the “Mondfrau” or moon woman, who also appears to provide similar artistic inspiration in one of her most famous poems, “Das Blaues Klavier.” There’s the tendency of flowers, vines, roots and all their parts to grow in ways they shouldn’t and spread across human life.

Here, she uses her gift of recognizing the power in the sounds of simple seeming words. She maintains an easily graspable but non-traditional rhyming pattern, but even then her rhymed sets of words are linked to each other with subtle sounds that the ear recognizes before it could fully describe them. I kept the same rhyme pattern and attempted to incorporate a lot of m and l sounds and assonance between non-rhyming words to capture this. This included using semantically related words instead of truer translations at times. For example, ‘Leinennähten’ directly translates to linen seams, but I used the word ‘thread’ to be able to rhyme with bed. Additionally, I added the word ‘distance’ in the last stanza to rhyme with ‘resistance’ despite no mention of the word distance, only a collection of far-away things. I added line breaks at slightly different parts of sentences than the original to create the ‘narcissus’/‘this’/‘kiss’ appoximate rhyme. Schüler’s rhymes are on stronger, more concrete words, while I had to compromise and use the word ‘this’ as one of my rhymes instead of ‘Küssen’ or ‘pillow.’

Editor’s Note: The translation here is quite different (but also good) http://www.poetryexplorer.net/poem.php?id=10080037

“Love”/“Die Liebe” has been translated multiple times, but I’ve never read a translation that accurately represented the fairy tale themes of the work. I see it as telling an alternate Sleeping Beauty (Dornröschen) story. With that in mind, I translated ‘Dornenlächeln’ as ‘briar-smile’ to evoke one of the English names for the Sleeping Beauty story, “Little Briar Rose.” In this poetic retelling, instead of waking the woman, the couple sleeps together forever, eventually enveloped by the earth. I think it’s beautiful, with just a touch of subversion.

I also wanted to preserve the rhythm of inhaling and exhaling. Schüler is gifted at using the sounds of relatively simple seeming words to a powerful, and here I think erotic, effect. While sometimes there a similarly intoned cognates in English, as in the case of “Schlaf” and “sleep,” other times as in the case of “Zügen,” no amount of substituting words like “mountain” or “range” or “peaks” ever mimicked the sense of breath that she used; I decided to translate for semantics instead of sound. A German poet suggested various possible synonyms, but the word ‘range’ best completed the picture. Additionally, I toyed with the syntax of some sentences to keep a similar cadence to the original poem and included approximate rhymes in places where Schüler used rhymes, leading to sentences like “blessing both of us” instead of a more precise “blessing us both.”

Else Lasker-Schüler was a leading German Expressionist poet who also wrote plays, drew and painted. She was known to love singing and dancing while wearing elaborate costumes and making up bizarre nicknames for her circle of friends. As a Jewish woman, she left Germany after being assaulted in 1932, to live in Switzerland and later Jerusalem. She died in 1945 without ever being able to return to her first home.

Amelia Gorman, currently angling for a career change, is studying computer science, but in the past she was a baker with a background in French literature. She’s married to a German teacher and has many friends and family living in Berlin, so learning German was inevitable. Finding an Else Lasker-Schüler book sitting out on a table in a library years ago, however, was pure luck. Her favorite German pastry to make is Bienenstich Kuchen.

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Published by Poetry Editor on November 19, 2015. This item is listed in Helpful Articles, Issue 28, Issue 28 Poetry

Notes on Crafting Science Poetry

By John C. Mannone

Consider science news in various forms as a prompt for speculative poetry. But first, let us consider a few things I consider important for science poetry, which also apply to nature poetry, historical poetry, geographical poetry, travelogue poetry and others. (I understand there might be other factors and that all might not agree with me, but these are part of my aesthetics and editorial focus for Silver Blade):

(1) Do not confuse writing about facts with poetic words as poetry (though it might be creative nonfiction). Much more is needed to lift it into poetry. I suggest a core of emotional truth must be present. This is facilitated with metaphors provided by science, nature, etc.—that is, by the subgenre you are using—to develop some aspect of the human condition or humanity, which can touch on socio-economic, political and spiritual issues.

(2) Cleverness/cuteness may entertain, but by itself rarely lifts science writing into the realm of poetry.

Of course, the other major elements of poetry—language, image, music and structure—must be present AND interconnect with each other. Collectively they must provide at an absolute minimum these three things: clarity, rhythm and depth as discussed in “Hearing the Literary Voice in Speculative Poetry”—a presentation at the Alabama Writers Conclave annual workshop in July 2015 at the University of South Alabama Fairhope. (Also obtainable from my blog/website, The Art of Poetry under the Poetry Classroom).

A few examples of my work that I consider science poetry are: “Beyond the Stars” (The Mystic Nebula), “Eulogy for a Voyager” (Red Fez), “Extinction Level Event” (Abyss & Apex), “Organic Chemistry” (3Elements Review), “Meteor Showers from Mars” (The MOON magazine) and “On the Brink of a Spinning Black Hole” (BlazeVOX).

But one doesn’t have to be a scientist to appreciate the wonders of the universe. And like anything else in nature, these wonders have been a continual source of inspiration for just about any kind of writing I have done. That includes setting for a scifi piece, imagined creatures (good and bad), the shear awesomeness of the night sky, and spiritual/meditative pieces. Consider these sources for ideas:

Astronomy Picture of the Day is a beautiful site supported by NASA, apod.nasa.gov/apod/astropix.html. It has great images that can inform your literary art through ekphrasis. Though not specifically a science poem, “Perspective” is an example of such an inspiration. In January 2006 (that was only one and a half years into seriously writing poetry), I saw a panoramic image of the Milky Way, which stimulated this little poem. The award-winning cited image is very similar to the one that inspired me—the Milky Way—that disc of stars we call our galaxy, which is more than 100,000 light years* in diameter and contains at least 100 billion stars. No wonder we often hear how small and insignificant we humans might be. I was thinking about this when I wrote “Perspective.” (See Postcard Poems & Prose Magazine some time in the near future).
ScienceNews: Magazine of the Society for Science & the Public is for the informed public and has a plethora of science-based ideas for writing your stories and poems.

* A light year is about 5.85 trillion miles.

__________________________________________________________________

John C. Mannone has over 450 works in Windhover, Artemis, Southern Poetry Anthology (NC), Still: The Journal, Town Creek Poetry, Negative Capability, Tupelo Press, Baltimore Review, Pedestal and others. Author of two literary poetry collections—Apocalypse (Alban Lake Publishing) and Disabled Monsters (The Linnet’s Wing’s Press)—he’s the poetry editor for Silver Blade and for Abyss & Apex.

His collection, Flux Lines—a collection of love poetry based on science metaphors—was a semi-finalist for the 2014 Mary Ballard Poetry Chapbook Prize. He won the 2015 Joy Margrave award for creative nonfiction and has been nominated three times for the Pushcart Prize in Poetry.

He had been a research chemist for Martin Marietta, who helped with the Viking and Voyager missions, an amateur radio astronomer with a specialty in spectral analysis of antenna signals, and he’s a college professor of physics in east TN.

He says, “As a physicist, I often jest about my right-brain coming out of comatose when I started writing poetry. And that my analytical mind informs my poetry with fresh metaphors, but when I marvel at my universe through my telescope of poetry, I am further amazed. Indeed, poetry has enlarged it by teaching me how to think outside the box.”

Published by Associate Editor on February 3, 2014. This item is listed in Helpful Articles

The Importance of Research

Kellee Kranendonk

by Kellee Kranendonk

Originally published November 2013 by Silver Blade Magazine

Efkaresto parapoli
Etsi kay etsi
Yasoo kalamera
Yasoo kalanicta
Yasoo kalanoches

Unless you speak Greek, the above lyrics are just gibberish. Actually, even if you do speak Greek, they’re gibberish anyway. This “chant” was heard on an episode of a popular TV show. If you weren’t Greek, the chant probably sounded fine. However, if you were Greek, you were probably rolling in the floor laughing. Translated, these lyrics go something like this:

Thank you very much
So and so
Hello good morning
Hello good afternoon
Hello good night

Apparently someone didn’t do enough research.

Research is important in writing, even if you’re doing Sci-fi or Fantasy. Why? Because you need to make people suspend their beliefs in this world to live in yours. You want people to believe in your story, not chuckle about how fake it was.

It stands to reason that if you’re writing a historical novel, or a mystery crime, you need to research the time period, or police procedures (think “Castle”), but is it really necessary in Sci-Fi and Fantasy? Yes.

Take the above chant. It’s supposed to be a “Dorian” chant, being read with an Ionian rhythm. That makes sense. There are many Greek accents and rhythms, the same as there are English, Chinese or whatever language you speak. So, it’s possible the writers never intended a serious chant, but if they were going to use words from a real language, why not do a little extra research and have it make sense for everyone?

Another example is Star Trek. Gene Roddenberry did his research and based the show’s technology on what he found. He did this to make it realistic (cheesy SFX aside). Have you ever noticed that cell phones look an awful lot like communicators?

You might be able to get away with less research in a fantasy novel since you’ve got it all in your head – character names, what planet they live on, the kinds of houses, plants, etc. But if your fantastic creations are too far removed from what your readers know, you may lose them. Editors too. For instance, I once wrote a story about a knight’s search for healing. The story included a scene where he met unicorns – pink and blue ones. One of the editors I subbed to thought the story was good, but she suggested I delete this scene. It brought her out of the story, disrupted the suspension of her beliefs.

Let’s say you wanted to create a snow-covered world and you’ve only ever lived in the tropics all your life. You know nothing about snow, but you’ve seen pictures and you know it’s cold. It’s not enough. You still have to do your research: What’s snow like? What happens in a snowstorm? How do whales keep warm? Why don’t duck feet freeze?

Yes, duck feet. The science behind duck feet not freezing in the cold could be useful for a character living on a world like this one. But be careful not to give a long-winded, scientific explanation. You’ll lose your readers for sure.

Something else you need to be careful about is the research itself. I was taught that a fact needed three citations in order to be deemed true. I generally follow that rule, but research still needs to be done with caution. If you’re a social media user, you’re probably already aware of the “true” things that circulate. Things like:

The problem with quotes on the internet is that it is hard to verify their authenticity. – Abraham Lincoln

Quite obviously this can’t be an authentic quote, and there are a myriad of similar quotes and “facts” just waiting for someone’s naivety. There are other places to go for research: Newspapers, books, magazines and journals, and even the author him/herself if you’re lucky enough to know him/her. Library access is available online with your library card, but if your only choice are internet websites, watch the URLs – .org and .gov are the most reliable. Here’s a link with more tips:

http://homeworktips.about.com/od/researchandreference/a/internet.htm

So do your homework. All the hours you put into it will be worth it. Your story will shine, and you might even learn something.

Published by Associate Editor on February 2, 2014. This item is listed in Helpful Articles

Break the Block

By Kellee Kranendonk

Originally published February 2011 for Issue #9 of Silver Blade

Kellee Kranendonk

God’s will. Fate. Karma. There are many words for it, but what it all boils down to is destiny or, our futures. Our futures may or may not be already written, but either way, we don’t know what’s in store for us. We have to take it one day at a time, wake up in the morning and get out of bed to find out what each day is going to bring for us.

Writing is often like that. We like to think we’re in control of our characters and their futures; that we know where the story is going, but that’s not always true. We can outline and plan every detail in our heads, but outlining and thoughts are not stone. They can change. Characters misbehave or run in the opposite direction that we want them to. Sometimes we know there’s a story we want to tell (an idea forms) but our characters refuse to talk to us (can’t expand on idea). This is often referred to as “getting stuck”, “writer’s block” or being “stalled”.

One way to break that block is to just write, or type (whichever is your preferred MO) anything. Often an idea will only form so far in your head but simply getting it down on paper or computer gets the creative juices flowing. At this point, it doesn’t matter what you write, as long as you’re writing. Edits and revisions come later. Sometimes just writing what you know in point form works:

character A = Alien
character B = Human
A & B meet
A & B fall in love/are repulsed by each other/want to dissect one another

Don’t know anything more? It’s time to start asking questions. A wants to dissect B. B refuses. Obviously. Or maybe not. Who knows what kind of twisted characters you have in your story. How does B stop A or why does B want this to happen? How does A react? What is the purpose for this dissection?

This obviously could make for an interesting, out-of-the box story. But what kinds of questions do you ask for more mainstream stories? The kind that require answers of course. If you want to know an unknown, just ask yourself. You might be surprised at the answer.

Why are A & B in love? Not just because that’s how they feel. Something has made them feel this way. What? Why are they attracted to one another? This could depend on your genre. Maybe A is an octopus-like alien and B has an arm fetish. Maybe A looks like Paul Walker/Vin Diesel in The Fast and The Furious and B has a blond/bald fetish.

So, keep asking questions. Your answers will lead to more questions, and hopefully more answers, and before you know it, you’ll have a completed story.

What other things can you do? There are probably as many tricks as there are writers. Go for a walk, listen to music, watch TV or read a book. For me those
are distractions, unless I’m reading a fantasy novel in which case I’m totally inspired. So, how do I break the block and get writing done? I use the old “What if” trick, but with a bit of a twist.

Many writers are comfortable with pen and paper, but I work on a computer
using the Corel WordPerfect program. This method of breaking the block will
only work for those who work on computers, unless you don’t mind writing with coloured pencils or magic markers.

First open a new screen. Next, type up the last thing that happened in your story. If you know where you want the story to go, type up the possible ways of getting there. If you’re not sure, simply type up possible plot lines. As you type each one out, it will probably lead to another possibility. The best thing about this is that by the time you get to the end, you haven’t forgotten any of the paths. It’s there in front of you in black and white. Or – and here’s the best part – you can change your font colour and work in your favourite one. This isn’t going to be sent to an editor, so it’s okay to work in a rainbow of hues. You can even write each different path in a different colour or change fonts, if that helps. Have fun with it.

This colour technique can be used for other things
as well. If you get to a point in your story and you realize that you need to
add something in a previous paragraph or chapter, but you’re on a roll and
don’t want to break it by going back to add it, just add a few lines about what
needs to be added or changed. Make it stand out in red or blue or whatever colour you wish. I use this all the time and often have a
rainbow manuscript.

Another thing you can do is try making a list of possibilities. Aim for
twenty or more. Your first few ideas might be the usual list of suspects, but
keep thinking. The more things you write down, the more unique they’ll become.
You may be able to blend certain ideas, but remember unique doesn’t mean
illogical. Your cow can’t bark and your goat can’t meow, unless you’re in an
alternate universe. In that case, this path becomes perfectly logical.

Finally, when you’re editing and revising, make those revisions in colour. This will help you see where your story needs the
most work. Plus, it makes new scenes or changes easy to find. If you belong to
a writer’s critique group and have the story critiqued, or workshopped,
you can place comments for specific scenes within the scene. It’ll stand out in
purple, green or (insert favourite colour). But don’t forget to make sure your final copy is
in black and white so it looks professional, and if you’ve used a fancy font, remember
that editors prefer a common, easy-to-read font.***

Here are a few more ideas that might work.

Reading – I like to read books in the genre that I’m
writing in, which is usually fantasy or YA, because my writing tends to favour whatever I’ve been reading about. Others find that reading books about writing help. Anything will do. Even if it’s a shampoo
bottle. Sometimes all it takes is a word or phrase to ignite that spark.

Activity – Doing something outside often relaxes you enough
to get the creative juices flowing. Work in your garden, walk the dog, the cat,
or yourself. Go swimming, sledding or skiing. Chances are you’ll see something
or someone that gives you an idea. It doesn’t have to be outside. Try baking or
cleaning out your clothes closet. Ideas, like items you lost months ago, often
pop up when you least expect it.

Non-activity – Some people get inspired in the shower. This
is one place you can be alone with your thoughts. You can hear what your
characters are telling you. Sometimes goofing off helps. You know those silly
computer games that often come already installed? Try those. These games often
require little or no thinking so you become an automaton simply going through
the motions and, because your (feel free to read that as “my” or
“Kellee’s”) brain gets bored, it starts to wander, imagine and ideas start moving in. Try watching a movie: an old favourite or one you’ve never seen before. There could be ideas there.

So, rather than just sitting in front of your computer, trying to force your
ideas to come (readers will know if a scene is forced) just relax and do
something else. Figure out what triggers your imagination, what gets a response
from your characters, then do it.

*** Generally Times New Roman or Courier New in a 12-point. Arial works
as well. Some editors receive it in their own preferred font so it won’t matter
anyway.

Published by Associate Editor on June 13, 2013. This item is listed in Helpful Articles

Don’ts of Writing

Kellee Kranendonk

by Kellee Kranendonk

Originally published February 2013 by Silver Blade Magazine

Seven don’ts for submitting:

– Don’t assume that just because you’ve been published your work is perfect.

I had one submission that had a typo in the two lines of a cover letter. The story sub started okay, but the further I read, the more typos I found which put me off the story. This was a published author who should have known to check the work before submitting. One or two honest typos are okay. Your editor will know, and it’s not her job to fix them. “Most importantly of all, if you think what you wrote is perfect, look again. We are all still learning, always. Don’t get comfortable.” – Anthony J. Rapino, author of ‘Soundtrack to the End of the World”, and “Welcome to Moon Hill”.

http://www.anthonyjrapino.com/fiction-in-print/soundtrack-to-the-end-of-the-world/
http://www.anthonyjrapino.com/fiction-in-print/welcome-to-moon-hill/

– Don’t contact the editor after a rejection.

You’ve probably heard this before. Whether you get a form letter or a personal rejection don’t do it, even if you disagree with the editor’s reason for rejection (if one was provided). She probably doesn’t have anything to say that you want to hear, and she doesn’t have time to debate the issue with you.

* I’ve had authors contact me after a rejection, asking if they could resubmit if they revised the story (with regards to editor’s comments). I’m agreeable to that. The worst an editor can say is no, and you’ve already been rejected. However, many magazine guidelines ask specifically that you don’t submit a revised story, or email them with such a request. Please DO follow that advice.

– Don’t submit without reading the guidelines.

Sometimes, even after you read a magazine’s guidelines, you still feel like you’re taking an educated guess when you send one of your stories. But if you’re submitting a children’s story to a children’s magazine, you’re already a step ahead. Your story simply may not be the editor’s cup of tea. However, if you’re sending a romance to a horror magazine you’re showing your lack of respect. Please don’t.

– Don’t write to the wrong editor.

If you’re going to use the editor’s name, make sure you use the correct name. If you’ve checked the magazine’s site, facebook page, masthead (if it comes in hard copy) and/or anywhere else the magazine and it’s contributors are listed, and you still can’t find an editor’s name, or you’re still not sure, simply addressing to “Editor” is acceptable.

– Don’t expect an immediate response.

Sometimes an editor can respond within days or even hours. Most can’t. Please be patient.

– Don’t appear to be an amateur even if you are.

You don’t need to explain if you’ve never been published before. It’s okay if you haven’t, unless the magazine requires you to be. In that case, you shouldn’t even be submitting to them. You don’t need to list everything you’ve ever done related to writing. If you’re an adult, the creative writing class you took in grade 9 doesn’t matter. If, however, you’re a grade 9 student, that class could be relevant. You don’t need a copyright mark. The moment you set your work on paper, the copyright is yours. Editors know this.

– Don’t confuse multiple submissions with simultaneous submissions.

Multiple submissions are several stories and/or poems sent to a single magazine at once. Most don’t want this. Be sure to read the guidelines to see if it’s acceptable for the magazine you’re submitting to. Simultaneous submissions are a single story sent to several magazines at the same time. Many magazines don’t want these, but there are some who will accept them. If the guidelines don’t state one way or the other for either, don’t assume. If there’s no contacting email the sensible thing to do is sent one story to one magazine. Please note that multiple submissions DO NOT mean you can neve send another story to the same magazine. Just not at the same time.

Seven don’ts for your story

– Don’t write about body parts.

If you’re writing a zombie story, body parts are fine. They may also be fine in fantasy and sci-fi as long as they have a purpose. However the body parts I’m talking about here are those ones that move about all on their own. (Again, this may be fine in fantasy if magic is being used). Eyes can’t dart, roam or move otherwise anywhere. Feet and hands don’t lift themselves. Write about characters and their movements, not their animated body parts.

– Don’t intrude on your own story.

Arthur heard a squeak from the other room. He crept up the stairs, the hair on his neck standing stiff. Did I tell you Arthur was a dog? He’s my little black dog that hated mice, and he thought that squeaking might be a mouse. Snuffing, he topped the stairs and peered into the room. All of the intensity was lost when the author intruded to tell the reader that Arthur was a dog. Keep the intensity by showing that Arthur is a dog: Arthur heard a squeak from the other room. He crept up the stairs, the hair on his neck standing stiff. His ears pricked forward, he snuffled the floor as he topped the stairs and peered into the room. In this version, Arthur is shown to be a dog (or an alien) since it’s not likely a human would have ears pricked forward, or be snuffling the floor.

– Don’t write the reaction before the action.

Crying, Janice watched the sad movie. It sounds like she was crying before she started watching. Why? What made her cry. Better to write: Janice watched the sad movie and cried. This way we understand that the crying is her reaction and not the other way around. Sometimes it works, though, because people are multi-taskers. Just be sure it does work in the order you have it. Crying, Janice reached for another handful of popcorn. (This sentence is, of course, assuming the reader already knows Janice is watching a sad movie).

– Don’t overuse names, especially in conversation.

People don’t constantly call one another by name, unless it’s a telemarketer. (I think they’re taught to use a person’s name over and over because it compliments them). How many times have you had a conversation like this with your best friend: Hello, Helen. How are you, Helen? Are you coming over, Helen? You also don’t need to use your character’s name every time. Don’t be afraid to use he/she, him/her, hers/his. Also, people identify one another by voice. You can do this in your story too, by giving your character his or her own distinctive voice and/or quirk.

– Don’t do the impossible.

Nellie typed up her resumé and drove to the office to drop it off. Apparently Nellie is very talented, being able to type and drive at the same time. “And” means simultaneously. I can walk and chew gum. I can listen and breathe. I can’t type and drive. I’m pretty sure Nellie can’t either. What she did do was this: Nellie typed up her resumé, then drove to the office to drop it off.

– Don’t overuse ellipsis.

This doesn’t mean not to use them several times in one story (although you shouldn’t do that either). What this means is not to do this: Elinor grabbed her purse then . . . . . . . . . . . . You only need 3 dots, 4 if it’s the end of a sentence.

– Don’t overuse the same phrase or word.

Find different ways to describe things. Don’t have several characters repeating the same information. Readers will remember. Having a catch-phrase for a character is acceptable, but still don’t use it every time the character talks.

Whether you’re a seasoned writer or a newbie, these “don’ts” can be valuable. The difference is, once you’re a seasoned writer, these should already be second-nature.