A Scribble of Writers: Q&A with Stephanie Riese

Stephanie Riese at the Jan ’11 Wilkes residency

Wilkes alum Stephanie Riese runs A Scribble of Writers, a blog and creative collective. In this Q&A, Riese talks about their group, book reviewing, and invites others to join the collaboration.

Stephanie, tell us about A Scribble of Writers. What compelled you to start a collective?

I actually came up with the idea for Scribble of Writers at Wilkes. My friends and I were sitting in a social media class, hearing about how important it is to get our names out there and have an online presence. Listening to the types of writing websites and blogs people were using, I thought, “Hey, why not start our own?” I bounced the idea off the girls and they were enthusiastic. I love editing and proofing, so founding the site sounded like a lot of fun to me!

As part of the blog, you provide creativity prompts. Do you then share the results with one another? 

The prompts are emailed out to everyone, and they email their pieces back to me. After any necessary edits, I post them to the website, where everyone has a chance to enjoy them.

Why do you include book reviews on the blog?

Book reviews were the suggestion of my friend Michelle, who wanted to write them. They’re a great way to get your name out there, and also generate great traffic for the website. I’d love to get a few more people to write them.

How can others get involved in A Scribble of Writers?

Anyone who would like to join the scribble need only send me an email and tell me what they’re interested in writing, be it the prompts, book reviews, etc. I’d like everyone to do the prompts in addition to anything else they enjoy, but I’m flexible. I’d love to see the site expand, with someone writing a blog about the writing process or other things like that.

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Thanks, Stephanie. If you’re interested in contacting Stephanie Riese about A Scribble of Writers, you’ll find her on Facebook.

Introducing Northampton House Press

Northampton House Press LLC, a company founded in 2011, is buzzing with activity–and involvement from the Wilkes commuity.

New titles includes Blood & Honor by Wilkes alum Chelle Ang, Ordinary Angels by Joan La Blanc, The Mirror of Aberrantine from alum C. M. Mullane (Chad Mullen), and Empyres: Bloodblind by Wilkes alum John Koloski.

“It’s thrilling to see my book become a reality,” Koloski said. “I thought nothing could compare to seeing the e-book online, but then I held my first galley copy! That beautiful glossy paperback came with a note from Dave Poyer stating that there’s nothing like a new book in one’s hand. He was absolutely right!”

Koloski has also taken on the role of Science Fiction and Horror acquisitions editor, while Joan La Blanc acquires Romance, Wilkes faculty member Bob Arthur manages Poetry acquisitions, and David Poyer acquires all other genres.

The Wilkes connection to Northampton House Press doesn’t end there. Poyer said, “Works are in production from Neil Shepard, Rashidah Abu-Bakr, and Ken Vose, along with several books by graduated program members.” This semester, Wilkes student William Horn is interning with the publishing house.

“Northampton House publishes carefully selected fiction—historical, romance, thrillers, fantasy—and lifestyle nonfiction, memoir, and poetry,” Poyer said. “Its mission is to discover great new writers, especially those graduated from accredited MA/MFA programs who have not yet achieved commercial recognition, and give them a chance to springboard into fame.”

The publisher aims to bring something new to the marketplace and to readers, particularly the kind of works that may be overlooked by large trade houses. “Watch the Northampton House list at www.northampton-house.com,” Poyer said, “and Like us on Facebook to discover more innovative works of high quality from brilliant new writers.”

Kait Burrier interviews Crystal Hoffman

Typewriters, Pilgrims, and Poetry:

An Interview with Crystal Hoffman

By Kait Burrier

Crystal Hoffman has led poetry workshops across the country, from public libraries to Burning Man Arts and Music Festival. She has taught at American University of Beirut. Poems from her chapbook Sulfur Water (2012, Hyacinth Girl Press) have been translated into three languages. Hoffman studied creative writing at Carlow University and earned her M.A. from Indiana University of Pennsylvania. She is currently walking across the United States, gathering and scattering American myths via poetry.

Hoffman began her journey on March 25^th, 2013, equipping herself with a tent, a change of clothes, an Olivetti 32 typewriter, and a modified cart affectionately named Connie. She left western Pennsylvania and is headed toward the Pacific northwest on what she anticipates will be a 6 month long journey spanning 2,550 miles on foot. She may be one of the few people who clicks the pedestrian icon while long-distance Google-mapping.

Crystal intends to revive the American myth and engage interested strangers in acts of poetry, much like she did as a founding member of the Typewriter Girls Cabaret. Along with poet Margaret Bashaar, Hoffman organized cabarets focused onparticipatory compositions. Many Typewriter Girls performances included various performing artists and writing games like Exquisite Corpse, and each event began with a typewriter at the door where, upon entering, audience members contributed a phrase to a collective poem.

In her Poetry Pilgrim Project, Crystal will engage in narrative therapy techniques with willing storytellers. Each poem will reflect that individual’s “hero’s journey” in the form of a poem. Crystal will type the poetry on card-stock, tie it with a ribbon, and present it to the individual, unearthing collective glorified narratives that will upturn a trail of American mythologyforged by poetry.

Kait Burrier
Photo: Jason Riedmiller

I recently had the opportunity to ask Crystal about her write life and about the Poetry Pilgrim Project:

Kait Burrier: You’re a poet, a performance artist, a teacher, an activist—how has all of this informed your writing?

Crystal Hoffman: When I write, I typically hear a voice speaking the words in my head. If I don’t or I’m concerned that something needs altered from how it came out originally, I will repeat it over and over out loud until it sounds right. This sometimes makes me look like a psycho in coffee shops—adds color to the place. I blame this need to hear on how central performance has been to my creative career.

As an activist, I attempt to resolve the paradoxes that frustrate me most in my work. I write poems that I wouldn’t call “issue” poems necessarily, but they attempt to work out why certain injustices and absurdities occur through narrative and images—not necessarily consciously, but they come up. The actual experience of protest I also find to be a poetic one, an energizing one, one wherein you can hear the magic of certain phrases.

There is also a beautiful absurdity to it. I used to be the one always itching for the game to be stepped up, looking for confrontation, hoping for a battle. It was in this space where I could see very clearly how I try to write the situations around me and get frustrated when I can’t manifest them. I have a lot of need for the control of my own story. I’m trying to get over this.

Crystal Hoffman
poetrypilgrim.com

In terms of being a teacher, I think that I’ve learned more about writing from teaching poetry at the American University of Beirut than I have in all of my schooling—preparing the classes, clarifying concepts for students, grading, re-evaluating my own standards, being forced to assess things I wouldn’t typically read. It was radical. It was possibly the most vital experience of my life.

KB: You are a founding member of the Typewriter Girls. Will you share about this experience?

CH: The Typewriter Girls were my central creative project for about five years. It was a beautiful thing. I was able to utilize the performances to serve as an outlet for nearly all of my creative urges: comedy, collaboration, theater, poetry, dancing, games, performance pieces, even writing the press releases became a pleasure—I wrote them like stories, absurd ones, and people responded to them!

However, this was also problematic, as it came to consume too much of my creative energy, which made me angry, as I became too attached… It was a rush, but a draining one. Margaret (Bashaar, of Hyacinth Girl Press) and I are actually planning on doing a reunion show, but we’re not going to be doing them regularly as we were before. I would love to start writing sketch comedy again and writing scripts for performance art pieces, but I think I’d like to do it as a part of festivals or in someone’s already established troupe.

I see this walk as almost the opposite of the Typewriter Girls, despite the fact that the interview-poem process I will be writing along the way was developed through them.

KB: You have been active in multiple cities across the country in alternative poetry readings. You have taught both locally and abroad. Now you will travel across the country on your own with a typewriter. What do you hope to find? What do you hope to share? Do you have any plans or will you take a day-to-day approach?

CH: I’m definitely taking the day-to-day approach. I know that I’m going to be taking the Great American Discovery Trail at first through West Virginia and to Cincinnati. At that point, I’m going to see what feels right. Hopefully, I can head north from there and get to Montana by July. The only big thing that I want to make is the Rainbow Gathering, but it’s not a huge deal if I don’t. I’m going to try to set up last minute readings/writing sessions as I get a better idea of my timeline, but for now, it’s nebulous. Anything can happen. I like that.

poetrypilgrim.com

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If you’re feeling generous, you can donate to Crystal Hoffman’s Kickstarter here: http://www.poetrypilgrim.com/ 

If you’re still feeling generous and want to give her a pair of new walking shoes in exchange for a poem, or if you just want to see what she is up to, you can see Poetry Pilgrim Project updates here: http://www.poetrypilgrim.com/

Kait Burrier is an MFA candidate in the Wilkes Creative Writing Program. She and photographer Jason Riedmiller travel near, far, and further to bring NEPA the latest in live music. Pick up a copy of the Weekender or check www.theweekender.com for updates.

Gale Martin: Success with Grace

Don Juan in Hankey, PA
by Gale Martin

Recent graduate Gale Martin has been enjoying incredible success for not one, but two recent book releases. Her debut with Don Juan in Hankey, PA (Booktrope 2011) keeps luring in readers, but it’s her latest book Grace Unexpected that has drawn even more attention, recently rising to #1 on Amazon’s list of Movers and Shakers.

“Movers & Shakers allows readers to keep track of what books are popular on Amazon,” Martin explains. “It measures books that obtain the biggest gains in Amazon sales ranks over the past 24 hours.”

Grace Unexpected
by Gale Martin

As part of a marketing strategy, Grace Unexpected was offered for free Kindle download for a limited three day period. Martin’s publisher aimed for the freebie to attract readers and everything fell into place as planned. “It received loads more visibility,” Martin says. In fact, during those three days not only was Grace Unexpected downloaded more than 38,000 times, the book sold more than 400 copies in the following 36 hours when the book returned to its retail price. In turn, buyers have been adding Don Juan in Hankey, PA to their online shopping cart as well.

Martin credits the Wilkes writing program for steering her in the right direction. The author states that Wilkes helps “prepare authors to present their writing,” both through public reading experience and preparing for the publication market. This hands-on ‘training’ has helped Martin across the board. She says, “I would say my Wilkes preparation was invaluable to my feeling confident and projecting a professional writer’s image.”

Riding high on her past two releases, Martin is already at work on her next book.

The Next Big Thing: Philip Brady

February 18, 2013

Philip Brady: “The Next Big Thing” Blog Hop

 “The Next Big Thing” is a blog hop in which authors around the world share what they’re working on by responding to ten questions. Wilkes faculty member Philip Brady responds to questions below. He was invited by Carol Moldaw, whose Next Big Thing post can be found here. 

 

Phil Brady

What is your working title of your book?

To Banquet with the Worthy Ethiopians: a memoir of life before the alphabet.

Where did the idea come from for the book?

The phrase comes from Homer. It appears in both the Iliad and the Odyssey, and refers to the Gods’ habit of retreating from human affairs in times of crisis. But the idea for a long poem came in the Fall of 2010 after major heart surgery. The recuperation gave me months of time off from teaching and directing Etruscan Press and the YSU Poetry Center. Months off from real life of any kind, really. It also changed my relationship to my body. I was weak, dreamy. In many ways, I became a boy again. It was just like the endless afternoons I spent rocking in front of the hi fi listening to Irish music. I lived in Queens, and understood none of it. It was a way of sailing from the world—reveling in the higher nonsense; finding in rhythm a charm against time’s surge. Amidst the violent conflicts of boyhood, it was my way of banqueting with the Ethiopians. During the months recovering from surgery, sitting in my rocker in front of the fire, I felt again like that boy, rocking and chanting.  And when I reviewed the many pages of the prose memoir I’d been struggling to write, they seemed so….prolix; prosaic; so slow and dense and stolid. After having been, briefly, dead, who’d care about all that stuff?  And I remembered a summer in camp when I was twelve, trying and failing to read a prose translation of the Iliad by W.H.D. Rouse. Only now do I realize that it was the prose, not the story, that was difficult. And so I started to transpose my own prosy life into another key. 

What genre does your book fall under?

The book is composed from questions about genre. Are genres sets of conventions and practices? Are they traditions? Or do they emerge from various entwined impulses: to sing, to yarn, to explain, to remember, to marvel? Homer and the works that emerge from the oral tradition do all these things. To Banquet with the Worthy Ethiopians aspires to that condition. It’s a long poem, and a novel-in-verse, and a memoir-in-myth. Timothy Findley puts it best. “I didn’t know quite how to tell this story,” he writes, “until I realized that if I were Homer, I’d have recognized that it isn’t just the story of men and women, but of men and women and the gods to whom they are obedient, and told best through the evocation of icons. So what I must do is transpose this story, which is history, into another key, which is mythology.”

Which actors would you choose to play your characters in a movie rendition?

There have been great movies about the Iliad and Odyssey. Some of my favorites are Ulysees with Kirk Douglas, Troy with Brad Pitt (mentioned in my poem), and Brother Where Art Thou with George Clooney. And of course various adaptations abound.  But I remain an unrepentant John Wayne fan, pilgrim.

What is the synopsis of your book?

The tale takes place at the border between myth and time, between childhood and adulthood, between orality and literature. Following a heart attack, an aging ‘scrivener’ broods on a list folded in a copy of the Iliad. Item 265 reads simply, “Thersites,” a foot soldier whining to go home.  The scrivener recalls the summer he first encountered the Iliad. Though overwhelmed by W.H.D. Rouse’s turgid prose, he gleaned enough to realize that the Trojan War, with all its violence and intrigue, was being waged on a smaller scale at his summer camp.

To Banquet with the Worthy Ethiopians blends Homer’s discovery of the alphabet with a man’s recovery and a boy’s struggle to glimpse the adult world through the prism of an ancient epic. As the story is transposed from history into myth, it ripples from Ithaca to Queens, passing through a murder investigation, a hacked computer, an all-star poetry workshop, a plot to relocate Troy, and a committee charged with writing a sequel to the Iliad.  While it is fantastical and whimsical, this is a deeply serious story about the difficulty of nurturing our personal myths in a world bound in time.

Will your book be self-published or represented by an agency?

I’m sending it around to all the usual suspects. It won’t be self published, nor will it appear from Etruscan, where I am the Executive Director. But as a publisher, I hope to be in a good position to work with whomever decides to publish it.

How long did it take you to write the first draft of your manuscript?

Once I decided to write verse instead of prose, it came very quickly—eighteen chapters in as many months. In the beginning I was “translating” as much as writing—working from my own prose pony. I learned that the most telling difference between prose and poetry is pace. Verse moves at great speed, grounded only by a barely audible thrum. It illuminates without revealing—lightning flashing on a dark landscape.

What other books would you compare this story to within your genre?

Some of the books that have influenced me are Christopher Logue’s War Music,  Zachary Mason’s The Lost Books of the Odyssey,  David Malouf’s Ransom, Margaret Atwood’s The Penelopiad, Alfred Lord’s The Singer of Tales, Julian James The Origin of Consciousness in the Breakdown of the Bi-Cameral Mind, Eric Havelock’s Preface to Plato, H.L.Hix’s As Much As, If Not More Than, William Heyen’s Crazy Horse in Stillness, Walter Ong’s Orality and Literacy, Leonard Schlain’s The Alphabet vs. the Goddess, and Jonathan Shay’s Achilles in Vietnam and Odysseus in America.

Who or what inspired you to write this book?

I didn’t write the book. I composed it. The writing part is merely transcription, which I need to do because my memory isn’t strong enough to hold it all in. But now I have it. I compose and am composed, as I walk, or drive, or shower, or am pulled into the dark tube of an MRI.

What else about your book might pique the reader’s interest?

The book aspires to turn readers into listeners. In the spirit of the oral tradition which provides its impetus, a performance of the entire work is being filmed at Youngstown State University. Clips from this rendition can be found at

http://www.youtube.com/watch?v=I1-Ve8aiRjk&feature=youtu.be….

http://www.youtube.com/watch?v=W0qGmacdSSo

http://www.youtube.com/watch?v=s2eyIuEqQOY

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Philip Brady is a poet, instructor, and publisher. Learn more at his website: www.philipbrady.com.

Wilkes featured in Low-Res MFA Handbook

Did you know the Wilkes Creative Writing MA/MFA programs are featured in a book that focuses exclusively on low-residency writing programs?

The Low-Residency MFA Handbook: A Guide for Prospective Creative Writing Students (Continuum/Bloomsbury, 2011), by Lori A. May, includes more than 150 interviews with program directors, faculty, current students, and alumni from 49 different low-res programs.

Several voices represent the Wilkes program:

• In Chapter 6: The Programs, six pages are dedicated to the programs at Wilkes. Interviewees include Bonnie Culver, J. Michael Lennon, Phil Brady, Kaylie Jones, Amye Archer, Brian Fanelli, and James Warner;
• In Chapter 5: Funding, Bonnie Culver discusses the incredible assistantships and scholarships available at Wilkes;
• In Chapter 8: Non-Residency Semesters, Jim Warner talks about working with a mentor online and how to manage time and organize one’s writing life.

The Low-Residency MFA Handbook

Just a few days ago, alum Gale Martin interviewed Handbook author Lori A. May on the Scrivengale website.

Wilkes alum Amye Archer interviewed Lori about low-res programs back in 2011. Read the Q&A here.

Unlike other creative writing resources, The Low-Residency MFA Handbook focuses specifically on low-residency programs and aims to share useful tips and advice for low-res students. Wilkes is prominently featured throughout the book and, as such, offers an ‘insider look’ into what our program has to offer prospective students.

If you’re near campus, you can visit the Creative Writing office where a few copies of The Low-Residency MFA Handbook are on the bookshelf.  There is also a free preview of The Low-Residency MFA Handbook on Amazon.

About the Book

The Low-Residency MFA Handbook: A Guide for Prospective Creative Writing Students (Continuum/Bloomsbury, 2011)
by Lori A. May
ISBN 978-1-4411984-4-0

Available @ Amazon, on Kindle, at Barnes & Noble, and @ Bloomsbury

Free preview on Amazon

More about the book and author at www.LoriAMay.com.

From the back cover: The Low-Residency MFA Handbook offers prospective graduate students an in-depth preview of low-residency creative writing MFA programs. Interviews with program directors, faculty, alumni, and current students answer many questions prospective graduates have, including: What happens during the non-residency semester? What are the residencies like? What community is established between faculty and fellow students? The guide also considers program structures, funding, and unique opportunities that extend beyond the degree. 

Contents

Preface
Chapter 1: An Introduction to Low-Residency MFAs
Chapter 2: Is the Low-Residency Model Right for Me?
Chapter 3: The Selection Process
Chapter 4: The Application Process
Chapter 5: Funding
Chapter 6: The Programs
Chapter 7: The Residency Experience
Chapter 8: Non-Residency Semesters
Chapter 9: Pedagogical Preparation
Chapter 10: Learning from Experience
Chapter 11: Life After the MFA
Chapter 12: AWP Membership & Services
Appendix A: Extended Interviews
Appendix B: Quick Reference
Appendix C: Additional Resources
Acknowledgements

 What People Are Saying

 ”The Low-Residency MFA Handbook is a must for anyone trying to push their creative writing educational credentials to the next level.”   - Midwest Book Review

“What an invaluable handbook! Lori A. May has done her research, knows her stuff, and, what’s best, lets the programs speak for themselves through her extensive interviews. There’s a chorus of quotes from faculty, students, and graduates in The Low-Residency MFA Handbook. Anyone making the decision to apply for an MFA should consult this wise guide. May’s clarity and authority make it a gold standard.”   - Molly Peacock, author of The Second Blush

“The Low-Residency MFA Handbook is an important book, not only for prospective students, but for program faculty and administrators as well. This guide will prove invaluable for students preparing to apply for low-residency MFA programs and will inform them of what to expect once they gain acceptance. The low-residency MFA in creative writing is increasingly popular, and there has been a lack of resources available to students, faculty and administrators. The Low-Residency MFA Handbook fills that void.”   - Derick Burleson, author of Melt

More Information

Visit www.LoriAMay.com or Amazon for more info.

New Michael Mailer Production Stars Alec Baldwin

Faculty member Michael Mailer has produced more than twenty features and leads Michael Mailer Films. He has been busy with a new project, starring Alec Baldwin and James Toback, and we were pleased to find out more about this unique production.

Q. Can you tell us about Seduced and Abandoned?
A. Seduced and Abandoned is a non-fiction film, part mediation on film and the filmmaking process consisting of interviews of film legends such as Polanski, Bertolucci, Scorcese, Copola, and part adventure tale following the ups and downs of Alec Baldwin and James Toback as they attempt to set up a remake of Last Tango in Paris (but this one is set in Iraq called Last Tango in Tikrit) at the Cannes Film Festival.

Q. What was the reaction to the process while filming at Cannes?
A. Shooting a film about the making of a film at a filmmakers festival was highly stimulating both for all of those involved but for the denizens of Cannes as well. We had great support from the head of the festival himself, Thierry Fermaux.

Q. Would you say the project was a success—either in terms of the project itself or in raising money for the ‘undisclosed future film’?
A. So far yes. The film we shot turned out well. It’s compelling and will be of interest to anyone interested in film and the filmmaking process.

Q. When and where can audiences see the film?
A. We’re in post production. The movie will be finished at the end of January, then hopefully viewable in theaters initially, followed by VOD, and other ancillaries.

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For more news from Wilkes faculty, alums, and students, see the December issue of Revise This! http://wilkes.edu/pages/5395.asp

Cohort to Cohort: Thesis Wisdom

With the January residency just around the corner, what better way to prepare for the master thesis term than hearing what those in the heat of things have to say? A sampling of students currently wrapping up the CW 520 course, Master Project Semester, have shared a few words of wisdom for the next cohort….

This is coming from an unorganized person, but organization is the key in the thesis semester. It’s a very hands-off term regarding mentors, so get out your calendar during residency and map out a specific plan of action. Mark your goals, i.e. reaching X amount of words or trying a new character, then note when you realistically plan to reach each goal and when to discuss them. That said, it is a creative project, so try to keep some elasticity in your plan. – Kait Burrier

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Don’t procrastinate! – Heather Lowery

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Write through it. Even when you think it’s not coming together, write through it! – Laura Duda

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Plan ahead and carve time to revise and edit once the project is completed. This requires a lot of organization indeed. – Edith Trenou-Dackey

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Start work before the semester officially begins so you aren’t rushing at the deadline. – Ashley Supinski

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As with any endeavor, what you put in is exactly what you’ll get out. – Pauline Hill Threlkeld

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Thanks to the current 520 group. Best wishes for those starting the intensive term ahead!

CW program featured in Beacon

Last week, The Beacon’s A&E Editor Bill Thomas ran a feature story demonstrating the success of the Wilkes creative writing program, highlighting alum publications.

Taylor M. Polites is included in the list of interviewees discussing his runaway hit with The Rebel Wife; Jonathan Rocks shares his experience with screenwriting and optioning his film, Luke Whimsey; and Laurie Powers discusses her projects and why she came back for an MFA.

Read the full feature in The Beacon here: http://www.thewilkesbeacon.com/arts-entertainment/2012/10/02/creative-writing-grads-brings-visions-to-life/

Q&A with Donna Talarico, editor of Hippocampus Magazine

I’m pleased to share this Q&A with Donna Talarico, the founder and publisher of Hippocampus Magazine. Donna earned her MFA in creative writing from Wilkes and now fills her days with writing and connecting with the literary community at large. Visit her website and blog at http://www.donnatalarico.com. 

Hippocampus Magazine is nearly a year old. Has everything happened as you planned or has the journal taken on its own life? 

This reminds me. I need to plan a killer birthday party. We just launched our fifth issue and so far, so good. Way back in a previous life, when I worked in radio, I read an article about Kenny Chesney. This was in the late ‘90s. He had his first big radio hit while I was at Froggy 101, but the dude had been on the scene for years, and had about three albums to his credit before he became the tan, baseball-capped, beach bum of a stud we all love. I left radio in 2001 and Kenny has since become way bigger. But back to my point. The article talked about Kenny’s perseverance and this was his quote (probably an old saying, but this was the first I’d heard it): “Take off like a rocket, fizzle like a rocket.” I never forgot that. I announced in January, but didn’t launch until May. It could also be that I work in marketing and I know how much planning a product or event needs to be successful.  Although I was enthusiastic and totally excited, I was and am very deliberate about why I do what I do, and when and how I do it. I have a lot of plans, but with time they will be rolled in. So, the short answer to this question is: yes. We’re right on track. It hasn’t grown a life of its own—instead, it’s added new life to mine. 

Your vision for Hippocampus included creating an inviting sphere where readers and writers would mix and comingle, where craft articles were not just about how-to but how-to-dig-deeper, and where a “a mix of timely and timelessness” would keep people coming back. What sort of response are you receiving from the literary community-at-large? What’s the gossip about Hippocampus? 

I am so pleased with the response Hippocampus has received since our first issue—and even before that, when we made our first call for submissions in January. When I put out the call for new staff writers and editors, I received several covers letters that just warmed my heart. It means the world to find out how excited people are about a home exclusively for creative nonfiction and how much people believe in the mission of Hippocampus, so much so that they want to volunteer their time and talent to help it grow and thrive. I also find such joy seeing the connections being made through the comments sections on the stories, as well as on Twitter and Facebook. Our most recent issue features a story, “Word,” by the fabulous Lori Myers, which celebrates the impact of words. This beautiful piece shares how one of her magazine stories—about rug hookers in a poor, Mexican town—impacted a community. The publicity from that article generated more work for these crafters. This, in turn, moved Lori; she realized how much power her words had. Now, her story about words moving her gets to move others: the comments section is filling up with praise, and writers sharing their own stories of moving experiences. There have been other examples, but this one is a great example of the kinds of conversations I hope Hippocampus can create in the literary—and greater—community. As far as gossip-gossip, I’m still waiting on the paparazzi to show up. I make sure I have makeup on at all times and, when I am participating in debauchery, I –well, actually, I usually tweet while I’m doing that. I can’t hide.  

You’ve added some great helping hands to the masthead, many of whom are Wilkes students, alums, and faculty. Is it hard to fight them off? 

I’m a lover, not a fighter, Lori! I am thrilled that people from the Wilkes program have been so interested in lending their amazing writing eyes to serve as readers and editors. Hippocampus was born (sort of) during my publishing class during the first MFA residency in 2009. I bought the domain name right after that, but sat on it for years. I was driving to the residency last January—now as an alum—and thought, “Gosh, I have been so busy with my new job that I have no answer to give people when they ask what I am doing now.” Then, during that lonely two hour drive from Lancaster County to good ‘ol NEPA, I made mental notes—no, I did not grab an envelope from above the visor and write on it while I drove on 81; that’s dangerous!—about the Hippocampus Magazine concept. I had been thinking about it for so long, and ideas don’t do anyone any good sitting in my head. When I arrived to campus—well, the bar—the first person I saw was Taylor Polites from a few cohorts ahead of me. He asked what I was up to, so I did it—I finally told someone about Hippocampus. He loved the idea. Then, I ran into my mentor, Becky Bradway; she also loved the idea and we sat and talked for a few hours about it—and other life stuff, of course. Maybe it was the winter brews and the camaraderie, but I felt major warm and fuzzies that night. The Wilkes community has been supportive in so many ways, from the encouragement when I first said something aloud to people reading and serving as editor.   

What’s interesting, too, is that while there is a very strong Wilkes presence, there is no underlying favoritism since all submissions are read blindly by a reading panel. Why did you opt to go this route and how has it served your purpose? 

Fairness has always been important to me. I’ve always rooted for the underdog. Maybe it’s because I never got picked for the kickball team, but I just do. I wanted Hippocampus to be taken seriously and I felt that, especially being new to the game, being completely transparent about our process was the right step to take. I didn’t want to prevent people whom with I may be loosely associated from submitting, but I also feared the favoritism you mention. A blind process eliminates that. Stories are judged on their own merit. However, I built into our process that we can also solicit work from published writers. Also, our craft articles, reviews and interviews are assigned. I am often quite surprised by what the reading panel collectively likes and doesn’t like—a piece that was very well-received turned out to be from a high school student. Had no idea until she sent her bio after acceptance. That’s an underdog story. I have to say that I am also very impressed by the caliber of writers submitting to Hippocampus—and the places they’ve been published. I am thrilled we are attracting established writers and equally thrilled to be a new home for people looking to get their first piece published.  

There’s still time for writers to enter the Remember in November Contest for Creative Nonfiction, with a deadline of Sept 15. How will this writing contest support the National Alzheimer’s Disease Awareness Month? How can readers and writers contribute and do some good?  

We’re donating $2 from every $10 entry fee to the Greater PA Chapter of Alzheimer’s Association. We have their blessing as well—they’ve helped promote the contest. Submission guidelines are on our website. Winning entries will be published in November, which is also National Alzheimer’s Awareness Month. Some craft articles and reviews pertaining to memory will round out the winning entries.

Speaking of helping out, are you still actively seeking volunteer editors and writers? What opportunities are available and what do you seek in an applicant?  

I’m always looking to diversify our reading panel. Like most literary magazines, the biggest audience is other writers. I do hope to attract a readership full of more “normal” people. I am looking for people who enjoy reading and wouldn’t mind reviewing and commenting on submissions when they have some spare time. 

So, with that one year anniversary just around the corner, what can we look forward to in the terrible twos? What does Hippocampus have up its sleeve for year two?  

Oh! Terrible twos. We promise to limit the tantrums and make it through potty-training without too many accidents. But seriously, I hope year two brings an increase in high quality submissions and see a continued growth in readership and interaction on our website and social media channels. With the addition of a reviews and interviews editor, our outreach to the literary community will no doubt grow. We have other things up our sleeves too. Can’t give it all away!  

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Thanks, Donna! Visit www.hippocampusmagazine.com for submission guidelines, contest information, and—of course—some great reads!

Photo note: all images obtained from Hippocampus.