Editor’s Notes #141

Good evening, blog readers! I hope you have all been having a lovely couple of weeks. I hope that the weather is finally becoming more bearable wherever you live. Now that we have been busy posting here at the blog for a bit, it’s time to recap and see what our posts have covered in recent weeks. First, of course, I would like to remind you about the current issue of the Jet Fuel Review. If you’re interested, check out the new issue for exciting poetry, fiction, non-fiction, and art. The submission period for issue #7 has just recently closed, so be sure to read issue #6 before the new one arrives!

Moving on, a few weeks ago we had a Writing Advice post about backstory. Backstory can be a tricky thing to weave into whatever story you’re writing. I think this post offers some tips and tricks for how to tell readers about your characters’ past without relying too much on the dreaded “infodump.” The Discussion post that week was about the blank page, which we must all face at some point if we want to write and create. Head over to that post if you have some thoughts about overcoming the blank page. The featured poem that week was By the Wayby C. Dale Young.

The next week’s Writing Advice post covered “the rules” of writing. Are there specific rules? Do we always need to follow them? Check out the post and share your thoughts on the topic as well! The Discussion post covered the stages of writing that we, as authors, go through when working on a project. What stage are you in right now? The featured poem that week was Cağaloğluby J.D. McClatchy.

Finally, this week’s Writing Advice post discussed the technique of notating as you are editing a piece of writing. If you’re working on a long project, and have taken some time away from it, you may have to take notes for your own benefit while editing. What are some editing practices that you use? The featured poem this week was Vulnerability says, by Rusty Morrison.

Last, but certainly not least, Simone Muench wrote us a blog post at the end of this past week. Simone wrote about the Writing Process Blog Tour, and she talks about what she writes and why she writes it. It’s an insightful and interesting post from the Jet Fuel Review’s faculty advisor, and I highly recommend that you take a look at it.

Join us in the coming weeks for even more blog posts about writing, reading, and general literary topics.

— Jet Fuel Blog Editor, Mary Egan

Writing Process Blog Tour with Simone Muench

Welcome to the Writing Process Blog Tour!MillsCompHi.indd

I’d like to thank Tyler Mills for so graciously inviting me to participate.

Tyler Mills is the author of Tongue Lyre, winner of the 2011 Crab Orchard Series in Poetry First Book Award (SIU Press 2013). A poet and essayist, her poetry has recently appeared or is forthcoming in Blackbird, The Believer, POETRY, and the Boston Review, and her prose has appeared in the Robert Frost Review and the Writer’s Chronicle. Her poems have received awards from the Crab Orchard Review, Gulf Coast, and Third Coast, and she has been the recipient of work-study scholarships from the Bread Loaf Writers’ Conference and the Vermont Studio Center. A graduate of Bucknell and the University of Maryland (MFA, Poetry), she is Editor-in-Chief of The Account: A Journal of Poetry, Prose, and Thought. She lives in Chicago, where she is currently working toward a PhD in creative writing at the University of Illinois-Chicago and helps organize the Wit Rabbit reading series.

You can read Tyler’s wonderful responses here, and below are my responses:

1. What am I working on?Muench.WolfCentos copy

Project 1 (completed):  I recently completed my chapbook Trace (Black Lawrence Press, 2014) and full-length collection Wolf Centos (Sarabande, 2014), both of which are books comprised of centos, a patchwork form that I find to be deeply under-utilized with great potential to engage the lyric-I in a new, and hopefully profound, manner. The recombinant nature of the cento allows for both homage to influences and predecessors while beginning the conversation anew. And just as each line “converses” with its adjacent line, each poem is in conversation with one another. Ultimately elegiac, these particular poems oscillate between transformation and stasis, wildness and domesticity, damage and healing. The “wolf” of these centos becomes a symbol of a threshold, a transformative space, as well as a mode of meditation, or as the wonderful late Larry Levis notes:

Continue reading