What’s in a Title? Naming Your Poems Like It Matters

Published on July 18, 2026July 18, 2026 by Beatriz F.Leave a comment

“What’s in a name? That which we call a rose
By any other name would smell as sweet.”

~ Shakespeare’s Romeo and Juliet, spoken by Juliet, Act 2, Scene 2

Today I am writing about a subject dear to my heart—choosing titles for poems.

The opportunity to name something you created should not be wasted. You’d think people would give this more attention than they actually do.

Back in the 80s, there was a best-selling book called The Name Game and its main premise was that your name was your destiny. If you wanted your child to be popular, excel in school and marry well, you had to be very careful what you named that little baby in the bassinet.

It would seem to follow that naming your poem merits some consideration as well!

To be clear, I’m no expert and I’m not denigrating any method you may be in the habit of using to choose your titles (or name your children!). But I have a keen interest in this subject and it seems to be a somewhat neglected area of discussion in poetry.

Just to see if maybe something on this subject was buried in books about writing poetry, I checked out a few classic poetry craft books: Ted Kooser’s The Poetry Home Repair Manual and Robert Pinsky’s Singing School. Kooser devotes a few pages to the subject. Pinsky mentions nothing about titles but does provide lots of examples of classic poem titles to peruse.

I then checked in the library catalog of a library of 2 million+ volumes, and only ONE book comes up under the LC classification subject heading: Titles of poems, it is a book called The Title to the Poem by Anne Ferry. She explores the subject in depth, asking questions like “Who gives the title? Who has the title? Who “says” the poem? Who “hears” the poem? What genre does the poem belong to? What is the poem “about”?” and considers the deeper aspects of titling poems: “There are complex relationships between what titles purport to tell and what they actually tell, and this is true not only of titles so worded that they demand interpretation, but also of those that appear straightforward.”

A title can anchor a poem in space and time, giving the reader some necessary context with which to begin reading and enjoying it. For example, a recent poem I wrote I entitled:

“Native, Antilles High School, Ft. Buchanan, Puerto Rico”

I could have just named it “Native” but the place and the time were very relevant to understanding the background of this poem, so the title’s subtitle in this case was very important.

Similarly, a poem entitled “An Evening Encounter at the Arecibo Observatory” gives the reader a lot of information, the time, the place, and the sense that this encounter is not going to be an ordinary one, given the nature of the place!

A title can lend specificity and a sense of fun at the same time:
For example, “At the Mayan Monkey Mijas Chocolate Factory” (and yes, this place really exists!)

First of all, how can you visit a place called the Mayan Monkey Mijas Chocolate Factory and NOT write a poem about it and use that name in the title?? However, I later thought I really should have called it “Touring the Mayan Monkey Mijas Chocolate Factory” and that would have conveyed even more relevant information because I was a tourist, not someone who worked there or a local who regularly visited, for example.
This title conveys a specific place (Mijas, Spain), history and culture (Mayan), fun (monkeys!) and sensory detail (the aroma of chocolate) and opens all sorts of questions in the reader’s mind, such as: What does a chocolate factory in Mijas have to do with Mayan monkeys?

Bridget Kriner’s article: Making It Work: Five Jobs for Poem Titles — The Poetry Lab helps you think about how to title your poem by thinking of what you want that title to bring to the poem.

“…titles are hard to get just right and do really important work–namely, a great title shows the reader how to read a poem.

A poem’s title is where the reader is introduced to a poet, an invitation from the poet into the depths of a poem’s magic. This is, essentially, the main job description of a title: to welcome its readers at the doorway of the poem and to draw them inside. However, the specific function titles perform can vary.”

In The Power of Titles: Strategies for Choosing the Right Title for Your Stories & Poetry, Emily Harstone makes a powerful argument against giving poems what she calls “placeholder” titles.

“As a poet, I haven’t always put as much emphasis on titles, but working
as a reader and then an editor for a literary journal really changed that
for me. When I was in that role I had to read about a thousand poems
over the period of two months. This is not an uncommon experience
for editors or readers.
I had to pick around ten poems out of all these poems to share with
others. But after reading so many they all started to merge together in
my mind. It didn’t help that a number of them had the same title.
Sometimes I’d try and remember a poem I liked, but then ended up not
finding it because while I remembered part of the poem I didn’t
remember the title.”

This problem would be exacerbated during the judging of a poetry contest, for example, and could keep your poem from winning an award! Imagine a judge reading dozens of poems called “A Dream” for example and trying to remember which one they liked best!

I think the approach of giving memorable titles to poems helped me when, after winning the 2nd annual Writer’s Digest poetry award with “Respiratory Tech at the Vietnam Memorial, 1989,” (which conveyed the speaker, place and time) I followed it up several years later with “The Menopausal Mermaid Takes Medical Advice” which came in at #36, I think. If you keep in mind that the first contest had ~4200 entries, and was only in its 2nd year, so the entries probably ballooned afterwards to even higher numbers, the importance of a memorable title becomes all the more obvious.

I think the saddest thing I see is “Untitled” as a title. I’m sure there are many brilliant poems by that title (though I can’t think of any off hand), and of course many poets just use the first line of their poem as a title, as per Emily Dickinson (but then again, most of her poems were not meant for publication.) But I feel like not giving your poem a title is a lost opportunity to engage with your reader on a different level.

Rodney Wood gives several techniques to find the right title for your poem: Why poem titles matter more than you might think | Write Out Loud

He does warn that any technique used too often can quickly become monotonous, though.

His final advice should resonate with any poet: “A title doesn’t have to be clever, poetic, or punchy — but it should be deliberate. It’s the invitation, the signpost, the spell. It’s the first poem the reader reads, even before the first line. So give your poems the names they deserve.”

Thank you for reading and please follow us here and on Facebook https://www.facebook.com/OLDSCRATCHPRESS/

Beatriz F. Fernandez is a Miami area poet and University Reference librarian. She is the author of three poetry chapbooks, the most recent of which is Simultaneous States (2025) by Bainbridge Island Press. In 2025, she became a member of the Old Scratch Press short form and poetry writing collective.

Her upcoming poetry book, Stone & Star: Poems in Voices Across Time will be published this fall by Old Scratch Press.

READ ONE OF OUR MEMBERS’ LATEST POETRY COLLECTION:

HOWLING INTO THE VOID

BY R. DAVID FULCHER

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Building a Readership: Five Paths for Poets, Path 2.

Published on July 7, 2026June 23, 2026 by diannePLeave a comment

PATH 2: Literary Journals

Why Literary Journals Still Matter

When poets talk about building a readership, literary journals are often one of the first recommendations they receive. Yet many writers, especially those outside academic circles, wonder whether journals still matter in an age of websites, social media, and self-publishing.

The short answer is yes.

Literary journals remain one of the most accessible ways for poets to introduce their work to new readers, establish publishing credentials, and become part of the broader literary conversation. While publication in a journal rarely leads to instant fame or large sales numbers, it can help create the foundation upon which a readership is built.

For many poets, journals provide something equally important: discovery. Readers who may never have encountered your work otherwise can stumble across a poem in a magazine, become interested in your writing, and begin following your career. Editors, event organizers, workshop leaders, and fellow poets often discover new voices through journals as well.

If you’re new to submissions, finding journals is easier than ever. Resources such as Chill Subs, Duotrope, Poets & Writers, New Pages, and the Community of Literary Magazines and Presses (CLMP) maintain extensive databases of literary magazines and submission opportunities. Many journals also maintain active social media accounts where they announce open reading periods, special themes, and contests.

One of the most common mistakes beginning poets make is submitting without first reading the publication. Whenever possible, spend some time with a journal before sending your work. Read several poems. Pay attention to the styles, themes, and voices the editors seem to favor. Not because you should imitate them, but because you’ll gain a better sense of whether your work is likely to be a good fit.

Many journals now accept submissions through online platforms such as Submittable and Moksha. These systems make it easy to track submissions, but they have also increased competition by making it easier for writers to submit widely. Rejection remains a normal part of the process. Even accomplished poets accumulate large numbers of rejections throughout their careers.

At some point, every poet encounters the question of reading fees. Some journals charge a small fee, often between two and five dollars, to help cover administrative costs, software subscriptions, and staff expenses. Others operate entirely without fees. Opinions vary widely on the practice. Some writers avoid reading fees altogether, while others are comfortable paying modest amounts to support journals they respect.

There is no single correct approach. However, poets should be thoughtful about where they spend their money. A small fee for a well-established publication may be reasonable. Paying large amounts to submit work to unknown organizations is generally less advisable. As with any publishing opportunity, it pays to do a little research before opening your wallet.

Another decision involves print versus digital publications. Some poets strongly prefer print journals because they enjoy seeing their work in a physical publication and because print journals often carry a certain prestige. Others appreciate the accessibility of online journals, where poems can be discovered by readers around the world with a simple click.

The truth is that both formats offer advantages. Print journals provide permanence and a tangible reading experience. Online journals often offer broader reach, searchable archives, and the possibility of sharing links directly with readers. Many respected literary publications now operate in both formats, making the distinction less important than it once was.

It is also worth remembering that publication credits are not merely lines on a résumé. Every journal publication expands your visibility. A handful of well-placed poems can lead to invitations to readings, relationships with editors, opportunities for future publication, and readers who may eventually purchase your collection.

For poets considering a future book project, journal publication can be especially valuable. Individual poems published over time help establish a track record of activity and engagement within the literary community. They can also provide useful feedback about which poems resonate most strongly with readers and editors.

At the same time, don’t fall into the trap of believing that journal publication is the only path to legitimacy. Many excellent poets publish widely in journals. Many others build readership through readings, workshops, social media, teaching, community engagement, or independent publishing. Literary journals are one tool among many.

Ultimately, journals matter because they help connect poems with readers. They provide opportunities for discovery, conversation, and community. For poets seeking to build a readership, submitting to journals remains one of the most practical and effective ways to begin sharing work beyond their immediate circle.

If you’ve been considering submitting your poetry, start small. Find a few journals you genuinely enjoy reading, study their guidelines, and send your work into the world. Every publication began with a first submission, and every poet who appears in a journal today was once a writer nervously pressing “submit” for the very first time.

Building a Readership: Five Paths for Poets, Path 1.

Published on June 30, 2026June 23, 2026 by diannePLeave a comment

PATH 1: Building a Readership Through Poetry Readings

When poets talk about building an audience, the conversation often turns immediately to social media, websites, and marketing strategies. While those tools can certainly help, many poets overlook one of the oldest and most effective ways to find readers: reading their work aloud.

Poetry began as an oral art form. Long before poems appeared in books, journals, and websites, they were shared through voice and performance. Even today, a strong reading can create a connection that no social media post can match.

Many poets hesitate to participate in readings because they assume they need a published collection, a large following, or years of experience before they are ready. In reality, most reading communities welcome poets at a wide range of experience levels. Open mics, community events, library programs, and local literary gatherings can all provide opportunities to share your work.

If you’re wondering where to begin, start by looking close to home. Libraries, independent bookstores, arts organizations, community colleges, literary festivals, and local writing groups often host readings and open mics. Social media can also help uncover opportunities. Follow poets, literary journals, bookstores, and writing organizations in your region and pay attention to the events they promote. You may discover that there are more opportunities to share your work than you realized.

Don’t overlook virtual events. Organizations such as Poetry Super Highway, The Writers Center, Poets & Writers, and many regional poetry groups regularly host online readings and open mics. Event calendars on Poets & Writers and Eventbrite can also help uncover opportunities throughout the year. Many poets have built meaningful friendships, readerships, and professional connections through virtual events they attended from their own living rooms.

screenshot of poets and writers event calendar

The benefits extend far beyond the reading itself. Every event introduces you to people who care about poetry. You meet other writers, potential readers, organizers, editors, and booksellers. Over time, these connections begin to form a literary community around your work.

Readings can also help you become a stronger poet. A poem that works beautifully on the page may reveal weaknesses when read aloud. Awkward phrasing, confusing transitions, and unnecessary words often become more obvious when spoken. The audience’s reaction can also teach you a great deal about how your work is being received.

One common misconception is that poetry readings only matter if they lead directly to book sales. While selling books is certainly welcome, the larger goal is visibility. Readers are far more likely to remember a poet whose work they have heard than a name they happened to scroll past online. Every reading plants seeds that may grow into future opportunities, whether that means invitations to other events, journal recommendations, workshop connections, or eventual book purchases.

For poets who are shy or nervous, it can help to start small. Attend a reading before signing up to participate. Read a single poem at an open mic. Volunteer to share work at a workshop or community event. Confidence grows with practice, and most poetry audiences are remarkably supportive.

If you have a collection available, bring copies. If you maintain a website, newsletter, or social media account, mention it briefly. Have a simple way for interested readers to stay connected. The goal is not to deliver a sales pitch, but to make it easy for people who enjoyed your work to find you again.

Perhaps most importantly, remember that building a readership happens one reader at a time. Very few poets wake up to discover thousands of devoted followers. Most audiences are built through repeated acts of showing up, sharing work, and participating in the literary community.

A successful poetry reading is not measured solely by the number of books sold or the size of the audience. Sometimes success looks like a conversation after the event, an invitation to read elsewhere, or a single person who tells you that your poem stayed with them long after the evening ended.

Poetry is meant to be read, but it is also meant to be heard. If you’re looking for ways to build a readership, consider stepping up to the microphone. You may discover that your next reader is already sitting in the audience.

Just as importantly, be willing to sit in the audience yourself. Attend readings even when you’re not on the program. Support fellow poets. Listen carefully to their work. Literary communities thrive when writers show up for one another, and some of the most meaningful friendships, opportunities, and collaborations begin simply by being present. The poets who consistently support others often find that support returned when it is their turn to step up to the microphone.

Do you know of a virtual event that readers can apply to? Leave it in the comments, and we’ll share it!

PRIDE Cannot be BANNED

Published on June 18, 2026June 18, 2026 by Beatriz F.2 Comments

Banned books week isn’t until October, but for LBGTQ authors, every week is banned books week because their works are banned disproportionately more than any others. Books that touch upon LBGTQ themes are challenged more often and these attacks are increasingly coming from “pressure groups and government entities that include elected officials, board members and administrators” according to the American Library Association.

“ In 2025, ALA tracked 4,235 unique title challenges—the second highest ever documented by ALA. Of these titles, nearly 40% represent the lived experiences of LGBTQIA+ people and people of color. Of the 11 most targeted books last year, four were challenged on the basis of their LGBTQ+ content.”

(From Stand Against Book Banning: LGBTQ+ Titles Targeted for Censorship | The New York Public Library)

The problem is becoming increasingly worse:

LGBTQ+ titles top list of most-banned books for fourth year in a row

“Seven of 10 books banned last year had LGBTQ+ characters, while the top two – All Boys Aren’t Blue, by George M Johnson and Maia Kobabe’s Gender Queer – are memoirs by LGBTQ+ authors which have previously been banned or had their sale restricted in the US.”

(From PinkNews | LGBTQ+ news | Latest lesbian, gay, bi and trans news)

Public libraries try to circumvent the bans by shifting books with LBGTQ themes to the adult collections, if possible, but that is just a bandaid compromise.

LBGTQ authors are concerned about children like themselves growing up and encountering no role models they can relate to in their reading. Children who encounter characters like themselves as the heroes and heroines in books can derive inspiration, pride, courage and solace from them.

Here are the 5 most banned LGBTQ books in America & what their authors have to say about it – Queerty

What can you do about it?

JOIN

The fight against censorship of LBGTQ authors:

Fighting Anti-LGBTQ+ Censorship – PFLAG

REPORT

The American Library Association has a form you can fill out anonymously to report challenges and censorship of materials, resources and services:

Challenge Reporting | ALA

Write to your state and Congressional representative:

This article contains a link to find and message them:

Banned Books Week 2026 – PEN America

SHARE

Create awareness about the continuing scourge of censorship in your community by sharing the information compiled by the ALA and PEN America.

Free Downloads | Banned Books

EDUCATE YOURSELF

The Normalization of Book Banning – PEN America

This article is a comprehensive overview of the past and current state of book banning in our country.

It has a map showing banning activity in each state.

“The book bans that have accumulated in the past four years are unprecedented and undeniable. This report looks back at the 2024-2025 school year – the fourth school year in the contemporary campaign to ban books – and illustrates the continued attacks on books, stories, identities, and histories. “

And don’t forget to

READ

Throughout history and spanning cultures, the rainbow has symbolized hope, unity, connection, peace and equality–so this Pride month, try reading through rainbow-colored lenses!

Banned Books List 2025 – PEN America

I share with you some works by two of my favorite poets:

Kay Ryan, US Poet Laureate of 2008,

and Richard Blanco, US Inaugural poet of 2013.

***

A Certain Kind of Eden by Kay Ryan

A Certain Kind of Eden

By Kay Ryan

It seems like you could, but

you can’t go back and pull

the roots and runners and replant.

It’s all too deep for that.

You’ve overprized intention,

have mistaken any bent you’re given

for control. You thought you chose

the bean and chose the soil.

You even thought you abandoned

one or two gardens. But those things

keep growing where we put them—

if we put them at all.

A certain kind of Eden holds us thrall.

Even the one vine that tendrils out alone

in time turns on its own impulse,

twisting back down its upward course

a strong and then a stronger rope,

the greenest saddest strongest

kind of hope.

Source: Flamingo Watching (Copper Beech Press, 1994)

***

Maybe by Richard Blanco

for Craig

Maybe it was the billboards promising
paradise, maybe those fifty-nine miles
with your hand in mine, maybe my sexy
roadster, the top down, maybe the wind
fingering your hair, sun on your thighs
and bare chest, maybe it was just the ride
over the sea split in two by the highway
to Key Largo, or the idea of Key Largo.
Maybe I was finally in the right place
at the right time with the right person.
Maybe there’d finally be a house, a dog
named Chu, a lawn to mow, neighbors,
dinner parties, and you forever obsessed
with crossword puzzles and Carl Young,
reading in the dark by the moonlight,
at my bedside every night. Maybe. Maybe
it was the clouds paused at the horizon,
the blinding fields of golden sawgrass,
the mangrove islands tangled, inseparable
as we might be. Maybe I should’ve said
something, promised you something,
asked you to stay a while, maybe.

(from http://www.poemhunter.com)

Thank you for reading and please follow us here and on Facebook.https://www.facebook.com/OLDSCRATCHPRESS/

SUBMISSIONS STILL OPEN FOR OUR NEXT ISSUE: Instant Noodles Lit Mag— THEME: “Al Dente”

SUBMISSION GUIDELINES

AL DENTE In cooking, pasta or risotto al dente (/ælˈdɛnteɪ/, Italian: [al ˈdɛnte]; lit. ’to the tooth’) is cooked to be firm to the bite, requiring a brief cooking time. The term also extends to firmly-cooked vegetables. In contemporary Italian cooking, it is considered to be the ideal consistency for pasta.

What does al dente mean to you? To your neighborhood vampire it probably means something different. How about to the prospector mining gold?

Send us something that you haven’t overcooked!

Submissions close on July 5, 2026; the issue publishes SEPTEMBER 1, 2026.

READ ONE OF OUR MEMBERS’ LATEST POETRY COLLECTION:

HOWLING INTO THE VOID

BY R. DAVID FULCHER

buy on amazon

NASA’s Space Launch System rocket carrying the Orion spacecraft.

Launch Your Imagination: Speculative Poetry in the Artemis Age

Published on April 18, 2026April 18, 2026 by Beatriz F.Leave a comment

(Image Credit: NASA/Keegan Barber)

This year’s National poetry month began with the successful liftoff of NASA’s Orion spacecraft as part of the Artemis mission, a forward step in manned spaceflight to the Moon—so it’s a perfect month to open a discussion about the future of Speculative poetry!

Speculative poetry is having a moment…

Speculative poetry, or SpecPo as it is also known, is coming into its own, especially in the last few years. Long overshadowed by science fiction literature, speculative poetry has finally been accepted by the Science Fiction and Fantasy Writers Association (SFWA) as valid publications to become a member and even has its own Nebula Award category as of 2025, with perhaps a permanent Hugo award category in the works as well.

These are the 2025 Nebula Award finalists for best poem. (You can read most of them online by clicking on the title.)

Of course, the SFPA-the Science Fiction & Fantasy Poetry Association—established in 1978–has long awarded speculative poetry in all its many incarnations: the Dwarf Stars award, the Rhysling, the Elgin, and Grand Master and Lifetime Service awards. It also bears noting that the Canadian Science Fiction and Fantasy Association has been awarding an Aurora Award for “best poem/song” since 2011.

But with the addition of the Nebula and possibly Hugo awards, the momentum for speculative poetry is increasing.

What is Speculative poetry?

Speculative poetry generally refers to a poem with hard science-fiction or high fantasy elements, the latter which can include horror, mythology, fairy tales, folklore, so you can argue that it has been around forever. But it has evolved over time to be more futuristic and diverse in nature, a situation which I think will continue to gather speed as we race for the Moon and Mars via future space missions.

The SFPA’s founder addresses some of the difficulties in defining Speculative poetry in this essay:

About Science Fiction Poetry, by Suzette Haden Elgin

Like many writers interested in science fiction, I started out writing poetry and then attempted to write science fiction short stories, never pausing to consider speculative poetry as a natural next step instead. When my sallies into short science fiction failed to match my vision, I began to explore poetry more deeply, especially narrative poetry, but again, never considered speculative poetry specifically. The truth is, I was not encountering much speculative poetry in my reading. In the science fiction magazines I read, poems seemed to appear as filler while the stories and novellas were the main attractions. The pieces tended to be very short and from a limited number of authors. This was my perception at the time, though I’m sure it was not unique. There were and have been many magazines publishing speculative poetry all along, but they did not come across my radar as a fledgling writer.

After many years of writing and publishing poetry, I began to explore short fiction again. I wrote an opening scene for what I first envisioned as a story, but it just didn’t materialize further. I was excited about the scene, though, and the vision would not leave me. Finally, the light bulb came on and I realized that this scene would work just as well, maybe better, as a poem! That reworked scene became a poem that was later accepted by Star*Line.

Speculative Poetry from Past to Present

To read some poems from speculative poetry’s past, peruse Poems of the Fantastic and Macabre a list curated by Theodora Goss, a professional fantasy writer, poet, and Victorian literature scholar who teaches Fantasy literature.

There’s a lot of excitement surrounding Speculative Poetry and in my research I ran across several articles that express that:

Locus Magazine has a feature on Speculative poetry this month: The Great Shapeshifter: Speculative Poetry

Reactor Magazine‘s article Weird as Hell: Falling in Love with Speculative Poetry by Diane Callahan. She explains how speculative poetry can serve as a gateway into poetry for people who don’t normally read it or embrace the label.

What you can do to support Speculative poetry right now

Join the Speculative poetry initiative to make the Hugo Award for Poetry a permanent category. It is a process that takes two years and must be ratified by the World Science Fiction Society (WSFS) (TheHugoAwards.org) who administer the award.

Submit your work and read magazines that publish speculative poetry:

The SFPA publishes a market list of paying and non-paying speculative poetry magazines.

Attend or participate in one of Speculative Poetry’s Speculative Sunday reading series

Read a book from Speculative Poetry’s Speculative Poetry Book Collections.

The Future and Speculative Poetry

The future of Speculative poetry looks bright–it is a form exceptionally adaptable to our changing world and open to the increasingly diverse visions of reality and the future of humankind. It’s accessible and welcoming to the exploration of social, political and multicultural issues.

And as the SFWA states in their Introduction to Speculative Poetry,

“Speculative poetry is not only for science fiction and fantasy fans. It is for any human with a heart and a desire to declare that their dreams should be heard.”

Thank you for reading!

Please follow us here and on Facebook. https://www.facebook.com/OLDSCRATCHPRESS/

Our current theme for submissions is Al Dente. For more information click here.

What does al dente mean to you? To your neighborhood vampire it probably means something different. How about to the prospector mining gold?

Send us something that you haven’t overcooked!

Submissions close on July 5, 2026; the issue publishes SEPTEMBER 1, 2026.

OSP members are featured in an issue of MiniMAG!–curated and compiled by OSP founding member Anthony Doyle.

The Zine Scene

Published on March 18, 2026March 20, 2026 by Beatriz F.2 Comments

If you haven’t delved into the Zine scene lately, you may be missing out! A zine, pronounced “zeen,” short for “fanzine” or “magazine” is a personal hand-crafted publication that can contain anything the creator’s imagination can supply and often devoted to unconventional subject matter!

Zines are made to share, trade, explore, discover and celebrate all modes of self-expression that can be printed: writing, art, photography. All you need to create a basic one is pen and paper. (A photocopier helps if you want to produce more quantity!)

My latest close encounter with zines happened when a professor at the university where I work asked to display her students’ zines in the library where others could read them or even take one with them if they wanted. She was teaching a class called Zine Writing and her students produced a variety of zines on fascinating topics ranging from their personal struggles with cultural assimilation to social justice issues affecting them and their families. I was really captivated by their insightful observations and the accompanying artwork, which included collages, flags, maps, masks, pictures of food, drawings and even a playlist!

These zines were tiny pamphlets cleverly folded from a single 8.5 X 11 piece of paper, but zines come in all shapes and sizes.

How-to Zine

A quick YouTube search will yield many zine-making tutorials:

This guide shows how to make a zine from a single piece of paper such as the students did—no staples required!

Find a Zine Event Near You!

If you want to fire up your imagination, you can view original zines or learn how to craft one at a Zine fair or Zine fest! Zine events take place worldwide; you can easily search for your city or region and zine fair/ zine fest / zine event and the current year to find a zine-making workshop at your local library or a zine festival that includes many publishers:

Printed Matter lists both national and international zine events organized by state or country.

Book and zine fairs – Printed Matter

Nicezines also lists worldwide zine events and other zine resources such as how to make them, price them and share them:

Zine events in 2026 – Nicezines

I found out the Miami Zine Fair is coming up in April:

Miami Zine Fair 2026

“Founded in 2015 by EXILE Projects as part of O, Miami Poetry Month, the Fair is a free, public celebration of self-publishing and independent print culture. Each year, it brings together over 150 artists, writers, illustrators, activists, and poets from Miami and beyond.

Visitors can explore hundreds of zines—handmade and expertly crafted—alongside workshops, performances, and multimedia projects.
Open to all ages and backgrounds, the Miami Zine Fair invites the public to browse, touch, and engage with the vibrant world of independent publishing.”

Zine New Wave

Some see the Zine resurgence as a response to an increasingly digital world:

The New Wave of Zine Culture: Why Print Isn’t Dead in 2025 – Mole Empire

One reason writers and poets are attracted to the zine medium:

”Zines offer an intimate platform for sharing personal stories, poetry, and experimental writing that might not fit into traditional publishing models.”

The above article offers advice on how to delve deeper into the zine culture:

“Zine Fairs and Festivals: Keep an eye out for local and online zine fairs. These events are fantastic opportunities to discover new zines, meet creators, and connect with the community.

Independent Bookstores and Art Spaces: Many independent bookstores and art galleries are now stocking zines, recognizing their cultural significance.

Online Communities: Platforms like Instagram and Tumblr host thriving zine communities. Search hashtags like #zine, #zinester, #diyzine, and #[yourcountry]zines to discover creators and connect with others.

Directly from Creators: Many zine makers sell their work directly through their own websites or social media. Support independent artists by buying directly!”

From LitMag News:

Inside Zine Festivals (and Why Zines Matter)

Ironically, as zines are ephemeral print matter by nature, libraries have been digitizing them for preservation purposes.

Zine Collections in Libraries, Books on Zines

Many libraries have Zine collections (aka Zine libraries)

Barnard College’s site lists Zine libraries by region

Zine Libraries | Barnard Zine Library

And guides to zine history, books on zines, zine collections:

What is a Zine? – Zines – LibGuides at University of Texas at Austin

Search Worldcat.org for books on zines held in worldwide libraries:

www.worldcat.org

Zine Culture

Even the Smithsonian has gotten involved as zines have grown in importance to our cultural development:

How Zines Brought Power to Those on the Margins of Culture

Specific subcultures have used zines to promote their ideas:

Riot grrrl – Wikipedia

“The movement quickly spread well beyond its musical roots to influence the vibrant zine- and Internet-based nature of fourth-wave feminism’

Zine Classes

Apart from the DIY classes offered by your local library or zine fair, school systems have zine programs added to their curriculums:

Zines for Progress | The Wolfsonian | Florida International University | FIU

“Zines for Progress (Z4P) is a Miami-Dade County public high school outreach program centered on addressing topical issues through zine-making.”

At my university I found yet another class focused on Feminist Zine Writing.

Zine Writing Virtual Gallery – FIU Digital Writing Studio

“Social critiques, personal diary rants and impassioned protests are just some of the topics commonly discussed within feminist zines. Zines are able to bypass traditional gate-keeping mechanisms that silence non-dominant voices and perspectives. As a result, zines offer a platform upon which feminists of all genders are using words, images and other non-violent discursive practices to advocate for equity, mobilize activist efforts and build and sustain community.”

You can see how zines have become a much-valued venue for self-expression!

Dip a toe in the zine pool and you might wake up a tsunami of creativity!

Thank you for reading and please follow us here and on Facebook. https://www.facebook.com/OLDSCRATCHPRESS/

(Pictures are of FIU students’ handcrafted zines and used with permission of the professor.)

Join us for a fun online mixer. March 28, 2 to 4 Pacific Time. Door Prizes, Activities, Free to Attend, Register today at currentwords.com/events.

https://us06web.zoom.us/meeting/register/7eRgLvBPSkuyhpUtgLlkdw#/registration

Writing About Food and Announcing the Latest Issue of Instant Noodles Literary Magazine!

Published on December 1, 2025December 1, 2025 by Nadja Maril1 Comment

by Nadja Maril,a founding member of Old Scratch Press Collective

Food. We spend a substantial part each day preparing, serving, and eating. The tastes, aromas and textures bring back memories. And over the winter holidays, the sensations become magnified as we taste the turkey roasting in the oven, the creamy mashed potatoes, the fragrant puddings, the sweet and savory carrots, onion topped green beans, latkes and apple sauce, cheese blintzes, and buttery chocolate chip cookies.

This is why I enjoy writing about food. It’s easy. All I have to do is close my eyes, remember and think of words to describe memorable dishes, new tastes I discovered, and meals I’ve shared. Try it. Think of a favorite meal, why it stands out in your mind and the emotions you associate with that time. Write down you uncensored thoughts. Read over what you’ve written. Maybe cross out a few sentences and rewrite others. You’ve begun to write memoir, the start of what is called Creative Nonfiction and it wasn’t hard at all.

You can take those food thoughts and memories and turn them into fiction as well. There’s no shortage of food in fairy tales: the witch in Hansel and Gretal with the house made of gingerbread and candy, the red apple in Snow White, the porridge eaten by Goldilocks and the Three Bears.

Wonderful poems have been written about food ingredients. One of the most important items I use in savory dishes is onion. Chilean poet Pablo Neruda (1904-1973) wrote a wonderful poem about the onion I’d like to share.

ODE TO THE ONION
by Pablo Neruda

Onion,
luminous flask,
your beauty formed
petal by petal,
crystal scales expanded you
and in the secrecy of the dark earth
your belly grew round with dew.
Under the earth
the miracle
happened
and when your clumsy
green stem appeared,
and your leaves were born
like swords
in the garden,
the earth heaped up her power
showing your naked transparency,
and as the remote sea
in lifting the breasts of Aphrodite
duplicating the magnolia,
so did the earth
make you,
onion
clear as a planet
and destined
to shine,
constant constellation,
round rose of water,
upon
the table
of the poor.

You make us cry without hurting us.
I have praised everything that exists,
but to me, onion, you are
more beautiful than a bird
of dazzling feathers,
heavenly globe, platinum goblet,
unmoving dance
of the snowy anemone

and the fragrance of the earth lives
in your crystalline nature.

If you need more inspiration, start reading the latest issue of Instant Noodles Literary Magazine .All the stories and poems are inspired by GRAVY.

One of my favorites in this issue is “Thanksgiving Leftovers” by Arielle Arbushites which begins “Gravy gravy everywhere/and not a drop to drink” Hear her read the poem by clicking this link.

Forty-two creative expressions inspired by GRAVY! Who would have thought we’d get so many fine submissions on this topic. Read them and enjoy the writer’s different takes on the subject. Maybe it is a holiday dinner that goes wrong or a humble food offering that needs a splash of pzazz but all the stories have something to do with gravy.

My creative nonfiction includes a nod to my great-grandmother’s Limoges covered gravy dish and a recipe. You can access it here or if you don’t want to read, you can listen here

Writers and Readers, don’t forget to forget to follow us on Facebook to get the latest news and learn about submission opportunities.

Nadja Maril is an award winning writer and poet who has been published in dozens of online and print literary journals and anthologies including: Lunch Ticket, Spry Literary Journal, Invisible City Literary Review, Instant Noodles and The Journal of Compressed Creative Arts. She is the author of Recipes From My Garden, published by Old Scratch Press (September 2024), a Midwest Review California Book Watch Reviewer’s Choice. An Anne Arundel County Arts Council Literary Arts Award winner, her work has been nominated for the Pushcart Prize and The Best of the Net. She has an MFA in creative writing from Stonecoast at USM.

Check out Nadja’s chapbook below and here.

Honoring Native American Heritage Month

Published on November 3, 2025 by gilliampoetLeave a comment

Celebrating Native American Heritage Month Through Reading

Each November, Native American Heritage Month invites us to recognize and honor the histories, traditions, languages, and contributions of Indigenous peoples across the United States. It’s a time not only for celebration but also for reflection—an opportunity to deepen our understanding of Native cultures and voices. One of the most meaningful ways to do this is through reading.

Books open doors to perspectives and stories that might otherwise remain unseen. When we read works by Native authors or books that authentically portray Indigenous experiences, we help ensure that these voices continue to be heard and valued. Reading becomes an act of both appreciation and advocacy.

Why Reading Matters

Reading stories by Native authors supports cultural awareness and empathy, especially among young readers. In classrooms and homes, these stories help children see the richness of Native traditions and the diversity within Native communities. For some readers, seeing their identities reflected in literature can be empowering; for others, it fosters respect and curiosity about cultures different from their own.

Books to Explore

Here are a few titles that celebrate Native stories for readers of all ages:

For Young Readers

We Are Water Protectors by Carole Lindstrom (Ojibwe) – A beautifully illustrated picture book celebrating environmental stewardship and Indigenous activism.
Fry Bread: A Native American Family Story by Kevin Noble Maillard (Seminole Nation)– A heartfelt celebration of family, tradition, and resilience.
Thunder Boy Jr. by Sherman Alexie (Spokane/Coeur d’Alene) – A picture book where the main character struggles with his name and tries to find a new one that better represents who he is.

For Middle Grades

Healer of the Water Monster by Brian Young (Navajo)– An adventure that weaves modern life and Navajo stories.
Indian No More by Charlene Willing McManis (Umpqua) and Traci Sorell (Cherokee Nation) – A novel that draws upon Umpqua author Charlene Willing McManis’s own tribal history which tells the story of a girl on a quest to understand her identity as an Indian despite being so far from home.
Ancestor Approved: Intertribal Stories for Kids, edited by Cynthia Leitich Smith (Muscogee Creek Nation) – A collection of intersecting stories and poems set at a powwow that bursts with hope, joy, resilience, the strength of community, and Native pride.

For Teens & Adults

The Firekeeper’s Daughter by Angeline Boulley (Ojibwe) – A young adult thriller that addresses social issues impacting Indigenous communities, such as the drug crisis, racism, colonialism, and violence against Native American women.
There There by Tommy Orange (Cheyenne and Arapaho Tribes) – A multigenerational story about violence and recovery, memory and identity, and the beauty and despair woven into the history of a nation and its people.
The Heartbeat of Wounded Knee by David Treuer (Ojibwe) – A compelling history that reframes Native American resilience and survival.

How to Celebrate Through Reading

Create space for Native voices in classroom and home libraries or book clubs.
Discuss what you read, focusing on themes of identity, resilience, and community.
Invite guest speakers or virtual author visits from Native writers.
Reflect on representation—whose stories are missing, and how can we bring them forward?

By reading and sharing Native stories, we help honor Indigenous heritage not just in November, but all year long. Books remind us that storytelling is one of humanity’s oldest and most powerful ways to preserve culture, inspire understanding, and connect us all.

Welcome Beatriz Fernandez: Newest Member of Old Scratch Press

Published on October 14, 2025October 13, 2025 by Nadja Maril2 Comments

Old Scratch Press Short Form and Poetry Collective is pleased to announce that Beatriz Fernandez has recently become our newest member. “I am thrilled and honored, “she says, “to join an online community of fellow writers from around the globe who support each other’s work, provide feedback and share our various skills and strengths.”

Although she didn’t try to get published until she was in her late forties, Beatriz has been writing all her life.

“I write in both form and free verse, both mainstream and genre, and have recently begun to write flash and short fiction. In poetry, I favor historical persona poems written in the voices of women, whether historical, mythological, or fictional figures. I also write speculative poetry and short fiction. I try to include my love of robots, androids, or time travel in most of my stories.”

Over the past ten years, Beatriz Fernandez’s work has been nominated for the Pushcart prize four times, and has been published in anthologies and journals as various as Label Me Latina/o, Prime Number Magazine, Strange Horizons, and Whale Road Review. She’s authored three poetry chapbooks: the most recent, Simultaneous States, (Bainbridge Island Press, 2025) included some poetry set in Puerto Rico and some speculative poems. Her eco-science fiction flash fiction piece, “Flow Time” was published this summer in a special Florida themed anthology by Gaslamp Pulp, a division of Nat 1 Publishing. That publisher also just accepted her Puerto Rican Frog Prince adaptation titled “The Coquí Captain” for a children’s anthology of reimagined fairy tales.

Beatriz grew up in Philadelphia, Spain, and mostly Puerto Rico and then came to Florida to attend college. During her junior year she established her Florida residency, met her husband, and began working in libraries. “I fell in love with all three,” she says, “and subsequently found no reason to leave any of them!”

Describing herself as a late bloomer in both her library and writing careers; she became a professional librarian in her mid 30s. On the way, she obtained an M.A. in English literature but found herself to be too much of a generalist to focus on a dissertation topic.

“During this time,” she says, “I seemed to be under the impression I was a budding novelist while the reality was that I was writing more poetry than anything else. My lightbulb moment came when I won a Writer’s Digest poetry contest that I entered on the very last day. That stroke of luck seemed to finally put me on the right road and actively seeking to improve my poetry style. I embarked on a long-distance phone tutorial with poet Andrea Hollander, who is a brilliant teacher and mentor, for several years; she helped me find my true voice. “

“Many writing classes, confabs and workshops later,” she says, “I’ve published almost every poem I’ve ever written! Now I feel I have come full circle—after starting out my writing career with long-distance tutorials, I’ve joined an online community of fellow writers.”

To learn more about Beatriz and to hear her radio interview on “Here and Now,” you can visit her website here

Thank you for reading this post and visiting the Old Scratch Press Blog. Next Saturday October 25th at 5:00 p.m., three members of the Old Scratch Press Team are participating in a special online reading from their newly published books. FREE. Read more about it here. And follow us on Facebook.

Steps Toward Your First Acceptance in a Literary Journal

Published on September 24, 2025November 16, 2025 by virginiawatts2 Comments

Steps Toward Your First Acceptance in a Literary Journal

To my fellow writers out there, I began submitting prose and eventually poetry to literary magazines in 2014. Since that time, I have been published over a hundred times. How did I do it? I learned the ropes and never gave up. More importantly, I never wrote for the purpose of being published. It’s an honor, a wonderful feeling, to have a piece accepted, but in the end of the day, the real joy for me as it is for most writers, is the creative process. Publishing is a very small piece of this magical puzzle. Even so, as writers, most of us would like our work to be read so here are some tips I learned along the way.

Present your best work always. If you have written something, set it aside for some time and return to it later for perspective. ALWAYS have feedback through a professional writing group. One or two friends reading your work will not do. You need professional critique and then you must listen and learn to edit accordingly. None of us can judge our own writing. We simply cannot. Don’t let your ego get in the way of your success.
Prepare a third-person biography. Include information like your location, your publications if you have some, your social media handles and website. If you have not been published, simply say nothing about that or mention that this would be a debut publication. Don’t try to be funny or clever. Be professional.
Prepare a cover letter and keep it simple and professional as well. Address the editor by name if you can. Start with something like: I appreciate the opportunity to submit my fiction story titled “Wind Warp” of 4900 words. Follow with your biography. End by thanking the editor for considering your work. That’s it.
Make a list of journals where your work appears to be a fit as you prepare to submit your work. This will mean reading some of the work the journals have accepted in the past. Lucky for us, many journals are online now or have some excerpts online. Consult resources by Erika Krouse or Clifford Garstang for a ranking of literary journals.
At first, I tried to select mostly smaller, well-respected journals for the bulk of my submissions. Once I got some traction, I aimed higher. If you can find a local journal that limits submissions to local writers, even better. One example of this is Philadelphia Stories, a journal that only publishes writers who are living in or originally from Pennsylvania, Delaware or New Jersey. A smaller pool helps your odds. There is nothing wrong with submitting to a new journal either. In fact, I recommend it. New journals need our support.
I would send a piece to at least twenty journals to start with and see how it goes.
Use standard manuscript format 12-point font Times New Roman. Double Space prose. Single Space poetry. And don’t forget page numbers.
Be encouraged if editors write you a personal note about enjoying your work even though it was not accepted or asking you to submit more work in the future or telling you that you made it to the final cut. All of these are a very big deal so be happy!
You will receive a lot of rejections. I submitted for about a year and a half before I received my first acceptance. Since then, I have had times where I have been “hot” and times of drought. Don’t give up and don’t get discouraged. There are many reasons a piece is not chosen that have nothing to do with the quality of the writing. You get used to the rejections. Promise me. The way I look at it is this writing that I am submitting is what I have to offer. I’ve got nothing else! This is me. I write what comes to me and what I want to write about. Above all, I just hope to tell a good story. I give every poem or story my all. There have been stories that I never placed, and I am okay with that. Some of these did get out in the world in later collections of mine alongside published stories. Be true to yourself and what your heart wants to write about and you will be fine.
Do not follow up with inquiries about your work after it is submitted. If you don’t hear anything for a year, consider the piece unaccepted and move on.
Make sure you keep a list of all the places you submit a piece so when you do have an acceptance, you can quickly withdraw it from other journals considering your piece.
Remember too that when submitting to always follow the guidelines such as whether the journal wants to read blind or not.
Set up a Submittable account because most journals use that now for submissions although some still have their own Submission System or they accept submissions via email only.
Another good idea is to go out for dinner and some glasses of wine with fellow writers submitting their work to share your experiences. Laughter is the best medicine, and you can learn from each other.
I wish all of you the very best in your writing journey!

Virginia Watts is the author of poetry and stories found in The MacGuffin, Epiphany, CRAFT, The Florida Review, Reed Magazine, Pithead Chapel, Eclectica Magazine among others. She has been nominated four times for a Pushcart Prize. Her debut short story collection Echoes from the Hocker House was short listed for 2024 Eric Hoffer Grand Prize, selected as one of the Best Indie Books of 2023 by Kirkus Book Reviews, and won third place in the 2024 Feathered Quill Book Awards. Please visit her.

Virginia’s new book is now available from Old Scratch Press: