Re-Membering The Body Of Christ

As members of a large, diverse Christian family, we’re a unique part of One Lord, One Faith, and One Baptism in the One Body of Christ. So let’s pray together and get together to do something to offset the bad press and negative comments that Christianity and the church often receive.

Let's pray to do something accurate, loving, healing, and courageous.

Let’s find out about each other and ourselves by getting to know the founding principles of each denomination, so we can understand one another better and pass on information correctly.

Let’s verify our own denominational beliefs and check out the beliefs of other churches by researching instructional documents (sometimes called the “catechism”) and mission statements that most churches provide on their websites or in prayer books, church manuals, and hymnals.

Let's put ourselves in each other's sandals with even flip-flops allowed.

When a subject interests us enough to write about it, let’s look in a Bible index to see exactly what the Bible has to say about that particular topic.

Let’s be sure we quote a text accurately and cite the source or translation.

Let’s keep the biblical text in context.

To research a topic thoroughly, let’s use a Bible dictionary or encyclopedia to find and explore related scriptures and relevant information, for example, about the times, place, culture, political scene, or general circumstances encountered by God’s people, then ask how we might relate.

Let’s encourage each other and our readers to appreciate the godly standards and Judeo-Christian values we must never take for granted.

Let's remember Christ.

Let's Re-Member The Body of Christ.


~~

(c) 2010, Mary Harwell Sayler, all rights reserved.

~~

Rejection! Rejection! What’s A Writer To Do?

Here’s the problem: Talented poets and writers often have an unrealistic view (okay, a fantasy) about the freelance writing life. They rightly know they express themselves well on paper so are apt to be shocked, angry, or hurt when an editor sends back their poems or manuscript. Some give up. Some self-publish, and some keep on and on until they find a good fit for their work in the traditional publishing markets.

To get a better idea of what it takes to be a freelance writer, focus on someone you know who works on commission sales. For example, my dad was in real estate, but everyone did not buy the houses he showed. Another family member sold life and health insurance, but everyone did not buy.

Sometimes the timing isn’t right. Sometimes buyers have unrealistic views of the value of a product or service. Sometimes nothing seems to fit, which is how freelancing can also be. Maybe the editor has too much on her mind. Maybe the publisher needs to cut back his product line. Maybe they have recently published something much too similar to your topic or idea.

No matter how you look at it though, the word “rejection” carries some heavy-duty connotations of being unaccepted and, therefore, unacceptable. In this respect, the word is a misnomer because your work may be just fine -- even wonderfully well-written. Your work may be very acceptable to your intended readers, too, but just not to the particular publisher you happened to pick. And, therein lies the probability of rejection.

At least in the beginning, poets and writers seem prone to reject editorial suggestions and writers guidelines provided by most publishing houses. Some think that only their work alone is “special,” so the “rules” do not apply to them or their brilliant idea. Other poets or writers seem to reject the genuine needs, interests, or values of their readers.

This type of mistake (okay, self-centeredness) happens to most of us at first because we’re new to freelancing and still trying to hear our own voice. Maybe we don’t have a clear picture of the publishing industry or don’t realize editors are real people with fairly basic editorial needs. We might not get how crucial it is to identify with our readers, especially if we expect them to identify back and connect with our poems or manuscripts.

When we stop rejecting honest input from our readers and/ or our editor/ publishers and attune ourselves to them -- not as we write but as we revise -- we will still get “rejection” letters. That’s a fact for most of us, but the difference now is that we know our work is worthy, and so are we. If we see our potential readers and editors as worthy too, they will be more likely to accept our poems and writings as something also worthy of their time.

~~

(c) 2010, Mary Harwell Sayler

~~

Writer’s Block In A Box

If you’re staring at your keyboard and would rather wipe than type, this might be a sign of writer’s block. Will it last forever? No. Is there anything you can do about it? Sure.

It’s like being boxed between cars in a parallel parking space. Tight, but you still have choices. So what do you do? You can wait until the owner of the other car comes along to free you. Or you can inch your vehicle by increments until you wiggle free.

Trying to think of something new to do sounds like an experiment in frustration when your thoughts already seem blah and fuzzy or singularly uninspired, but don't fret. Just remember: Wiggle.

Do something different. If you can’t go anywhere, stand on a chair or stretch out on the floor, but get a fresh perspective. Look up and notice the texture of the ceiling. Look down and describe your feet. Look around and notice the sound, smell, sight, taste, or feel of objects you’re around every day. Sip soup slowly and identify the flavors or compare. Listen to the hum of the heater then fill in words to fit that beat.

Getting away from your normal surroundings can help you to get out of the box sooner, which is why even a mini-vacation depends on vacating your home. So use writer’s block as your impetus for visiting that museum in town you keep forgetting. Or go to a movie with sub-titles. Check out a library book of poems totally unlike anything you usually read or write. Check out DVDs, too. For instance, look for a video of that country you hope to visit or, better yet, one you would never dare to set a foot inside. Pick up a travel magazine, and look at photographs of other places.

Get the picture? Writer’s block is a box that every poet or writer steps into occasionally, but you don’t have to stay there. Even if you’re really boxed in, you have choices. Jump out. Take a nap. Find a different view.


[If you need objective feedback on your work, you might find what you're looking for on The Poetry Editor website - http://www.thepoetryeditor.com .]

Traditional Publishing for Christian Poets & Writers

If you're drawn to writing poetry, fiction, nonfiction, or books, stories, and poems for children, you'll eventually want your work to be published, but how do you go about this? Here are some tips with Christian poets and writers especially in mind:


• Notice the names of traditional publishers whose work you enjoy reading.

• Do these publishers have a website? If so, study the titles in their book lines and the poems or magazine articles in their archives.

• List publishers whose books or publications seem similar yours.

• Study and follow the writers' guidelines on each company's website.

• Send a book proposal, article or batch of 3-5 poems to 1 editor at a time.

• Keep track of where and when you sent your work.

• If you have no response in 2 to 3 months, follow-up.

• While you wait to hear about one manuscript, begin another.

• If an editor returns your work, read the manuscript or poems aloud.

• Listen for rough spots. Revise as needed, then submit your revision to the next publisher on your list.

In addition to those tips, check the website for your denomination.

Study the Mission Statement of your church.

Study church-produced publications such as Bible studies, church curriculum, devotional guides, and children’s take-home papers.

Write the appropriate editor to express your interest in writing those materials.


~~

(c) 2010, Mary Sayler, all rights reserved.

~~

How To Read Like A Writer

Writing well often depends on reading well, which means studying a poem or manuscript that you really like to see what works and why. To do this, try asking questions of the text. For instance: Why did the poet or writer use that particular form, structure, setting, viewpoint, character, or ____ (fill in the blank)? What effect did this decision have on the poem or manuscript?

Analyze each of those techniques to give yourself more information about what works well and what does not. Ask, for instance, if the style is formal, loose, or chatty. Does the poem or manuscript have a rhythmic flow when you read the piece aloud? What words jump out? Do they add emphasis or reinforce a sound effect or encourage readers to think more about the topic?

Also notice sensory details. Analyze whether the poet or writer relied more on the sense of sound, sight, smell, taste, touch, or feeling. A well-written poem or manuscript might tap into all of the senses.

Notice the viewpoint or perspective, too. Does anything seem fresh or memorable? If so, what? Be specific. Also ask what would happen if a first person poem or story (I, me, mine, we) were written in second person (you) or third person (he, she, his, hers, them, they.)

Asking questions of a poem or manuscript may seem awkward at first, but your interrogation skills will improve with practice. To ease the task, start with a book, story, article, or poem that you think is poorly written, then focus on the flaws. Identify each as clearly as you can. For instance, you might think a children’s picture book text or a short story for adults has too many characters doing too many things in too short a space. Or maybe a nonfiction article rambles too much to clarify the points. Or maybe you just don’t believe the characters in a novel.

As you precisely identify any flaws, you will begin to read like a writer. More importantly, the process will help you to be less apt to make the same mistakes yourself. If, however, you suspect your work of a similar problem, just ask questions of the poem or manuscript. See what’s not working and why. Then correct those mistakes as you revise.

Mary Sayler

How To Wear A Poem

Regardless of your shape or size, putting on an appealing poem begins with a foundation of naturally firm but willowy lines or with an artificial yet artistic means of getting those natural lines into a traditionally pleasing shape. Various schools of poetry may disagree, but either way works. So, if you’re a highly gifted poet with a natural eye or ear for poetry, you and free verse will probably go nicely together. Or, if you’re a highly gifted poet with a natural eye and poetic ear, you might dress up well with an extraordinary use of traditional verse forms.

Before you wear yourself out with a poetic style you don’t like, consider what types of poetry you most like to wear when you’re reading. Is this the type of poem you would like to put on or show off or quietly carry over your shoulder like a shawl? Do you look good in those colorful images? Do you like to put on your dancing shoes of rhyme or regular rhyme? Can you pull off wearing bling in the sometimes flashy patterns of in end-line rhymes? Or do you prefer to tone it down by scattering rhyme freely into free verse, but not in predictable patterns?

If you’re more concerned about content, rather than a stylish form, you can tailor that preference to yourself too, wearing either free verse or traditional metered poetry such as the sonnet, villanelle, or sestina. It just depends on what appeals to you. So whatever you want to wear, be sure the poetic style fits you.

As you learn to wear your poems well, check the mirror for masters of that particular form or type of free verse. Don’t just study contemporary poets whose work you like the look of, but also scan old catalogs of classical poets who wrote with style throughout the centuries. Even if you opt for the bargain price of packing rhyme, rhythm, imagery, and social commentary into the vintage pattern of a sonnet, as countless poets have done, your voice, your fresh idea, your apt comparison, your poetic face can make an outmoded fashion look new and “in” again.


[For more about writing, revising, and marketing your poems, visit the Poetry Editor blog .]

Basic Steps For Writing & Marketing

Study the classics and contemporary works in your genre.

Consider what draws readers to a particular poem, story, article, or book.

Study publications you like to read. Get familiar with magazines, e-zines, journals, and book catalogues of publishers whose work you like.

Consider any potential gaps that your story, poem, article or book might fill.

Plan your work before you begin. Decide on a theme, purpose, and reading audience.

Research each topic thoroughly.

Outline each article or nonfiction book. Write a synopsis of your novel in present tense.

Let your writing flow without criticizing yourself. Let your work rest. Later read those pages as if someone else had written them.

Identify each problem. When you see a problem, you may see a solution too.

Revise to make the manuscript your best work before you try to place it with one editor at a time.

Follow writers’ guidelines carefully as you submit your manuscript. When using the postal service for a submission, enclose a self-addressed, stamped envelope (SASE) to cover its potential return.

Keep track of where, when, and to whom you mailed your work.

While you’re waiting to hear from the editor, query other editors about your next idea.

Start researching and planning another project.


~~

(c) 2010, Mary Harwell Sayler, all rights reserved.

~~

Self-Publishing Versus Traditional

Self-publishing has some obvious perks:

Freedom to publish whatever you want whenever you want

Artistic control over the length, layout, and cover of your book

Immediate income for each book you sell

Some flexibility in the book pricing

Not so obvious are the draw-backs. As the sole producer of your book, you have more freedom and control but also more responsibilities such as:

Researching book-buying markets to see if your book fills a need

Writing and revising your manuscript without editorial feedback or assistance

Correcting mistakes in grammar, spelling, and syntax

Typesetting your manuscript to provide the printer with camera-ready copy

Applying for an ISBN Number and paying fees required to copyright the book

Locating artwork to illustrate the book's content and cover

Paying for the artwork

Deciding on quality of paper, font style/size, type of cover

Deciding on the press run and paying the printing costs

Marketing the book

Promoting the book

Requesting book reviews

Trying to interest newspapers, magazines, and talk shows in interviewing you

Promoting the book

Promoting the book....

If you have a super-hot topic that has not been addressed, your book might generate interest fairly quickly. Since this seldom happens, you might be stuck with boxes of books that you paid to have printed.

By contrast a traditional publisher handles all of the above responsibilities with the exception of researching and writing the book. If the book does not do well, the publisher bears those costs, not you. If you receive an advance, you do not have to pay that back unless you fail to complete the book as promised.

A traditional publisher takes on the time and expense of editing, proofing, printing, and marketing your book. Therefore, you can be sure the company will put forth professional efforts to be sure you have a lively, interesting, well-written manuscript that readers will be eager to buy.

If, however, you have a ready market waiting for your work or you decide to go ahead and self-publish, please get a professional critique before you typeset your material. I've been critiquing poems and manuscripts for 30 years and will be glad to work with you - for a reasonable fee, of course:)

(c) 2009, Mary Harwell Sayler

What Poetry Editors Hope To See In Poetry

In the book Spreading the Word compiled by Stephen Corey and Warren Slesinger and published in 2001 by The Bench Press, twenty editors of poetry journals discuss the qualities they look for in the many hundreds of poems that cross their desks every month. Since most of these literary magazines only have print space for a couple dozen poems per issue, competition remains high. Each editor has personal preferences, of course, yet they looked for similar characteristics in poems they accept. To find out more, I highly recommend the entire book, but for a mini-view here’s a recap of the notable qualities or fresh traits commonly sought by editors – and, yes, readers too:

• Compelling subject that engages readers, making them want to re-read

• Fresh perspective or unusual treatment of the theme or topic

• Credibility and an honest voice

• Accuracy in fact, sensory detail, observation, research

• Genuine exploration of something that might interest most people

• Risk or emotional investment in the poem

• Conflict, counterpoint, juxtaposition – something to provide a push-pull tension between knowing and not knowing or a balance between order and disorder, poising the poem so it does not become a locked box that clicks shut at the end

• Word choices with interesting connotations, denotations, and sounds

• Rhythmic emphasis on syllables or rhymes that benefit from the stress

• Distinctive language and ideas by an interesting speaker or persona

• Tone in keeping with subject, for instance, lively lines in a humor poem

• Humor rather than cleverness, irony over mere wit

• Effective form for traditional verse, effective line-breaks for free verse

• Musicality that becomes even more obvious in reading the poem aloud

~~

(c) 2009, Mary Harwell Sayler, all rights reserved.

~~

How To Get Published

Whether you feel drawn to writing poetry, fiction, nonfiction, or children's books, you eventually might want your work to be published by someone other than yourself, but how do you go about it? 

Here are some tips on submitting your work to potential publishers:

• Notice the publishers of books or magazines that you enjoy reading.
• Do these publishers have a website? If so, study the titles in their book lines and the poems or magazine articles in their archives.
• Make a list of publishers whose work seems most in line with yours.
• Study and carefully follow the writers' guidelines on each company's website.
• Submit your complete manuscript or batch of 3-5 poems to one editor at a time.
• Keep track of where and when you sent your work. If you do not have a response in a few months, follow-up.
• While you wait to hear about one manuscript, start another.
• If the editor sends back your submission, read it aloud. Listen for any rough spots. Revise as needed, then submit your poems or manuscript to the next potential publisher on your list.

(c) 2009, Mary Harwell Sayler; updated 2021

Privacy Policy

We take your privacy seriously. This policy describes what personal information we collect and how we use it. (This privacy policy is applicable to websites falling under the primary holder http://marysayler.blogspot.com/. )

Routine Information Collection

All web servers track basic information about their visitors. This information includes, but is not limited to, IP addresses, browser details, timestamps and referring pages. None of this information can personally identify specific visitors to this site. The information is tracked for routine administration and maintenance purposes, and lets me know what pages and information are useful and helpful to visitors.

Cookies and Web Beacons

Where necessary, this site uses cookies to store information about a visitor's preferences and history in order to better serve the visitor and/or present the visitor with customized content.

Advertising partners and other third parties may also use cookies, scripts and/or web beacons to track visitors to our site in order to display advertisements and other useful information. Such tracking is done directly by the third parties through their own servers and is subject to their own privacy policies.

Controlling Your Privacy

Note that you can change your browser settings to disable cookies if you have privacy concerns. Disabling cookies for all sites is not recommended as it may interfere with your use of some sites. The best option is to disable or enable cookies on a per-site basis. Consult your browser documentation for instructions on how to block cookies and other tracking mechanisms.

Special Note About Google Advertising

Any advertisements served by Google, Inc., and affiliated companies may be controlled using cookies. These cookies allow Google to display ads based on your visits to this site and other sites that use Google advertising services. Learn how to opt out of Google's cookie usage. As mentioned above, any tracking done by Google through cookies and other mechanisms is subject to Google's own privacy policies.

About Google advertising: What is the DoubleClick DART cookie? The DoubleClick DART cookie is used by Google in the ads served on publisher websites displaying AdSense for content ads. When users visit an AdSense publisher’s website and either view or click on an ad, a cookie may be dropped on that end user’s browser. The data gathered from these cookies will be used to help AdSense publishers better serve and manage the ads on their site(s) and across the web. Users may opt out of the use of the DART cookie by visiting the Google ad and content network privacy policy.

Contact Information

Concerns or questions about this privacy policy can be directed to maryharwellsayler@gmail.com for further clarification.