It’s Time for Beach Reading!

Published on July 23, 2026July 7, 2026 by virginiawattsLeave a comment

I’ve been on a lucky kick lately finding great books to read. I have a group of friends and relatives who love to read as much as I do, and we share book ideas almost every week. I’m not content when I don’t have a good book going. Often, when I am busy running errands, ticking off my list of appointments and other life tasks, in the back of my mind I am thinking: When I am done with all of this, I can go home and read my book! It’s my reward. My joy. My salvation. And I am clearly not alone. Many people love to read and there are some good reasons why.

Reading is very good for the health of your brain. Reading expands and strengthens neural pathways. It has been shown to improve memory. People who read regularly are better at retaining complex information. They concentrate better. This is because when you read you must focus your mind.

Reading also lowers your stress level and cortisol levels significantly. Even when you read for a short time, your heart rate slows and your muscles relax. Reading is likened to meditation. When you read you step away from your own life and your own unique anxieties. It’s a true calming of you mind even though your mind is busy. It’s believed to be better at lowering your blood pressure than listening to music or watching tv. If you read before bed, your mind gets the message that it is time to slow down. You are likely to fall asleep faster and sleep more deeply. Reading at night helps you push your own worries away.

There have been several studies that have shown that reading regularly provides some protection against cognitive decline and may even delay the onset of conditions such as dementia and Alzheimer’s. Long terms studies also show that reading increases your lifespan.

Another benefit to regular reading is that it makes us better people. When you read you experience all kinds of characters, lives, and places that improve your knowledge of the world and helps you have a better understanding of people who are different from you. People who have different lives and different beliefs. This makes you more empathetic. This translates into better relationships and social skills. Reading is a bridge to understanding others. Apparently, the most empathy comes from reading literary fiction as opposed to nonfiction.

It has also been shown that for people experiencing some forms of mild depression, reading self-help books can assist with recovery. Medical experts can provide a list of recommended books.

The world’s most successful and wealthy people are often avid readers with a strong desire for knowledge. Bill Gates. Oprah Winfrey. Elon Musk. Reading can also help with loneliness and social isolation because it often leads to book groups, whether face to face or online. Also, with public libraires and low-cost subscriptions for tablets, reading is not expensive.

Here is my recent list of books I would recommend. I enjoyed every word and I hope you do too. Cheers and keep those pages turning! Ginny

Mad Mable by Sally Hepworth

May We Be Forgiven by A.M. Holmes

This Book Will Save Your Life by A.M. Holmes

This Story Might Save Your Life by Tiffany Crum

The Wedding People by Alison Espach

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:

Her prior poetry chapbooks Shot Full of Holes and The Werewolves of Elk Creek

are available from Moonstone Press. And her debut short story collection Echoes from the Hocker House is not to be missed!

Building a Readership: Five Paths for Poets, Path 4.

Published on July 21, 2026June 23, 2026 by diannePLeave a comment

PATH 4: The Long Game

Workshops, Community, and the Long Game of Poetry

Many poets begin writing in solitude. A notebook, a keyboard, a quiet room, and a handful of ideas are often all that’s required to start. Yet while poetry is frequently written alone, few poets build a lasting writing life entirely by themselves.

One of the most valuable resources available to poets is community.

For some writers, that community takes the form of a workshop. For others, it may be a reading group, an online gathering, a local poetry organization, or an informal circle of trusted readers. Whatever form it takes, a strong community can help poets grow, remain motivated, and continue writing through the inevitable ups and downs of the creative process.

Workshops, in particular, offer several benefits. They provide opportunities to receive feedback, hear how readers interpret your work, and identify strengths and weaknesses that may be difficult to see on your own. A thoughtful workshop can help a poet sharpen individual poems while also developing skills that carry into future projects.

At the same time, workshops are not simply about critique. Some of the most valuable lessons come from reading and discussing the work of others. Evaluating another poet’s choices often teaches us as much about writing as receiving feedback on our own poems.

For poets who have never participated in a workshop, finding one is often easier than expected. Local libraries, community colleges, arts organizations, independent bookstores, and writing centers frequently host workshops. Online options have expanded dramatically in recent years, making it possible to connect with poets from around the world without leaving home.

For poets wondering where to begin, there are more options than ever before. Local libraries, community colleges, independent bookstores, arts organizations, and state poetry societies frequently host workshops and discussion groups. Many literary journals, writing centers, and nonprofit arts organizations also offer virtual workshops that allow writers to participate from anywhere.

If you’re looking online, start by following organizations such as Poets & Writers, The Writers Center, local arts councils, and poetry organizations in your region. Facebook groups, Bluesky communities, and writer-focused newsletters can also help uncover opportunities. Don’t overlook literary events themselves. Many workshops are discovered through readings, conferences, and conversations with other writers.

As you explore, remember that workshops serve different purposes. Some focus on craft and detailed critique. Others emphasize accountability, encouragement, or community. Before committing to a long-term group, ask yourself what you hope to gain. Are you trying to improve individual poems? Complete a manuscript? Meet other poets? Build confidence sharing your work? The answers can help you find a community that fits your goals.

One final suggestion: don’t wait for the perfect workshop. Attend a reading. Join an online discussion. Participate in a one-day class. Introduce yourself to another poet. Literary communities are rarely built through a single dramatic step. More often, they grow through a series of small, consistent acts of participation.

When choosing a workshop, it is worth remembering that not every group will be the right fit. Some focus heavily on craft. Others emphasize encouragement and accountability. Some are highly structured, while others are more conversational. If one group does not feel productive or welcoming, that does not mean workshops are not for you. It may simply mean you have not yet found the right community.

Community also plays an important role beyond the workshop itself. The poetry world is built on relationships. The poets you meet today may become future collaborators, readers, editors, event organizers, or simply trusted friends who understand the unique challenges of the writing life.

Many opportunities arise through these relationships. Invitations to readings, recommendations for journals, introductions to editors, and collaborative projects often emerge through conversations within the literary community. While talent and hard work remain essential, few poets navigate the literary landscape entirely alone.

Perhaps most importantly, community helps sustain writers over the long term.

The reality is that poetry rarely offers immediate rewards. Publication may take months or years. Collections can require years to complete. Rejections are common. Audience growth is usually gradual. Writers who expect quick results often become discouraged.

This is where community becomes invaluable. Fellow poets understand the excitement of an acceptance, the disappointment of a rejection, the frustration of a stalled manuscript, and the satisfaction of finally solving a difficult line. They remind us that we are not working in isolation and that the challenges we face are shared by many others.

The most successful poets are not always the most talented. Often, they are the ones who remain engaged long enough for their work to mature. They continue reading, writing, revising, submitting, and participating in the literary world year after year.

This is the long game of poetry.

A workshop will not instantly transform your writing. Joining a community will not guarantee publication. Neither will produce thousands of readers overnight. What they can provide is something far more valuable: growth, support, accountability, and connection.

Over time, those small advantages accumulate. One workshop leads to stronger poems. Stronger poems lead to publications. Publications lead to readings. Readings lead to new readers and new opportunities. A writing life is rarely built through a single breakthrough. More often, it is built through years of showing up, learning, and participating.

If you’re looking to build a readership, don’t focus only on promotion. Invest in community as well. The relationships you build along the way may ultimately become one of the most rewarding parts of your poetry journey.

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

buy on amazon

Gabby Gilliam and The Families That Make Us

Published on July 16, 2026July 7, 2026 by diannePLeave a comment

One of the remarkable things about poetry is its ability to preserve moments that might otherwise slip away. A porch light at dusk. The smell of a summer garden. A conversation remembered years later. The people who shape us, even after they’re gone.

Gabby Gilliam’s debut collection, No Ocean Spit Me Out, is filled with those moments.

Across thirty poems, Gilliam explores family, memory, faith, grief, and the gradual process of becoming ourselves. Returning again and again to the landscapes of childhood and the relationships that continue to echo through adulthood, her poems remind us that our earliest experiences rarely leave us. Instead, they become part of the stories we carry throughout our lives.

What makes this collection especially moving is its honesty. Gilliam writes with warmth and clarity, allowing ordinary experiences to reveal extraordinary emotional depth. Whether she’s reflecting on family traditions, wrestling with loss, or finding beauty in everyday life, each poem invites readers to pause and recognize something of themselves.

As both a poet and novelist, Gabby Gilliam brings a storyteller’s eye to every page, creating poems that are richly imagined while remaining deeply personal. No Ocean Spit Me Out is a memorable debut from a writer whose work reminds us that our most meaningful journeys often begin at home.

If you’re looking for poetry that is thoughtful, heartfelt, and quietly unforgettable, No Ocean Spit Me Out is a wonderful place to begin.

Building a Readership: Five Paths for Poets, Path 3.

Published on July 14, 2026June 23, 2026 by dianneP1 Comment

PATH 3: Social Media

Using Social Media Without Losing Your Mind

Mention social media to a group of poets and you’ll likely get a wide range of reactions. Some embrace it enthusiastically. Others tolerate it reluctantly. A few would happily throw their phones into the nearest lake if they thought it would help them write more poems.

If you’re trying to build a readership, social media can be a useful tool. The challenge is remembering that it is a tool, not a destination.

Many writers approach social media with unrealistic expectations. They assume they need thousands of followers, viral posts, or a constant stream of content in order to be successful. In reality, most poets build readership the same way they build literary communities: slowly, one connection at a time. Poets with fifty engaged readers who genuinely care about their work are often in a stronger position than someone with thousands of followers who rarely interact with what they post. Readers matter more than numbers.

One of the most common mistakes poets make is treating every post as a sales pitch. Constantly asking people to buy a book, attend an event, or subscribe to a newsletter can quickly exhaust an audience. Social media works best when it feels like a conversation rather than an advertisement. Consider sharing parts of your writing life instead. Talk about a poem you’re working on. Share a favorite line from a poet you admire. Discuss a recent reading you attended. Recommend a literary journal. Celebrate another writer’s success. Give people a reason to follow you beyond the occasional book announcement.

It is also important to remember that not every platform serves the same purpose. Some poets enjoy Instagram’s visual focus. Others prefer Facebook groups, Bluesky, Substack, Threads, or TikTok. Rather than trying to maintain a presence everywhere, choose one or two platforms that feel comfortable and sustainable.

One of the most effective ways to use social media is to join existing communities rather than trying to build an audience from scratch. Look for groups dedicated to poetry, books, literary journals, reading challenges, independent publishing, or genres that align with your work. Readers are already gathering in these spaces. Your goal is not to convince everyone to read your poetry. Your goal is to find the people who already enjoy poetry and become part of the conversation.

The key is to participate as a community member first and a writer second. Read what others post. Offer encouragement. Share recommendations. Celebrate successes. Ask thoughtful questions. People are far more likely to become interested in your work when they know you as a person rather than someone who appears only to promote a book or drop a link. In other words, don’t treat social media groups as billboards. Treat them as communities. The strongest literary relationships often develop through genuine conversations that have little to do with selling anything at all.

Consistency generally matters more than volume. Posting once or twice a week for a year will often accomplish more than posting twenty times a day for two weeks and then disappearing for six months. Readers appreciate reliability far more than intensity. Social media can also be a valuable way to discover opportunities. Many literary journals, bookstores, festivals, workshops, and reading series announce events through their social media accounts. Following organizations you admire can help you stay informed about submission calls, readings, contests, and publishing opportunities.

At the same time, poets should be careful not to confuse visibility with productivity. It is possible to spend hours discussing writing online without actually writing. Most readers ultimately care about the poems themselves, not the number of posts that appeared along the way.

One helpful question to ask is this: “Would I still do this if nobody clicked ‘like’?” If the answer is yes, you’re probably using social media in a healthy way. If the answer is no, it may be worth reconsidering how much time and emotional energy you’re investing in the platform.

It is also important to remember that social media tends to reward attention-grabbing content, while poetry often rewards reflection, patience, and subtlety. A post that receives little engagement is not necessarily unimportant. Likewise, a viral post is not necessarily meaningful. The value of your work cannot be measured by an algorithm.

For many poets, the healthiest approach is to view social media as a bridge rather than a home. Use it to connect with readers, discover opportunities, support fellow writers, and share your work. Then log off and return to the page.

The poets who seem most comfortable online are often those who understand this balance. They participate in conversations, support their communities, and remain visible, but they do not allow social media to become the center of their creative lives.

In the end, readers are built through relationships, not algorithms. Social media can help create those relationships, but it cannot replace the work of writing good poems, supporting other writers, and participating in the literary community.

Use social media if it serves your goals. Ignore the pressure to be everywhere at once. Share your work, encourage others, and remember that the most important part of being a poet still happens away from the screen.

A Free Workshop with Emeritus Member Ellis Elliott

Published on July 13, 2026July 13, 2026 by diannePLeave a comment

Saturday, July 18 11:00am – 12pm ET

BY DONATION
An online workshop led by Regina Dilgen, in conversation with Fiona Owen and Ellis Elliott

Workshop Details

Are you ready to send your work into the world but you’re not sure where to begin? This practical workshop will guide writers through the submission process from start to finish. We’ll cover how to:- find appropriate markets- interpret submission guidelines- format your work professionally- write a simple cover letter- track submissions- handle acceptance and rejection with confidence. Whether you’re submitting poems, stories, essays, or creative nonfiction, you’ll leave with the tools and resources you need to take the next step in your publishing journey.

This event is by donation and requires registration. Click on the image for all the information:

Having been to Ellis’ workshops before, I can safely say this is very much worth your time!

~Dianne

A Ghost Ship, a Revenge Tale, and a Perfect Ending

Published on July 10, 2026June 24, 2026 by diannePLeave a comment

Every once in a while, a piece lands in Instant Noodles Literary Magazine that reminds me exactly why I enjoy reading short fiction.

John Tures’s “Lex Talionis” has everything I could want in a flash piece: a ghost ship, naval warfare, a dash of history, supernatural revenge, and an ending that lands exactly where it should.

Set during the War of 1812, the story follows a British frigate pursuing what appears to be an American privateer. The captain dismisses warnings that the vessel ahead may be something far more dangerous than an enemy ship. Unfortunately for him, ghost stories have a way of becoming real at exactly the wrong moment.

One of the pleasures of flash fiction is watching a writer establish a world, create tension, and deliver a satisfying payoff in only a few hundred words. Tures accomplishes all three. The story moves quickly, but it never feels rushed. Instead, it unfolds like a campfire tale told by someone who knows exactly when to reveal the next detail.

I was also drawn to the historical setting. The War of 1812 doesn’t receive nearly as much attention in fiction as the American Revolution or the Civil War, which makes it fertile ground for storytelling. Add a phantom privateer seeking revenge on the British Navy, and you have a premise that immediately grabbed my attention.

The title is a clever touch as well. Lex talionis is a Latin phrase often translated as “the law of retaliation” or “an eye for an eye.” By the time the story reaches its conclusion, readers will understand exactly why that title was chosen.

One of the things I enjoy most about literary magazines is discovering work I might never have found otherwise. Every issue introduces me to new voices, new ideas, and occasionally a story that simply makes me smile because it delivers exactly what it promises.

“Lex Talionis” was one of those stories.

If you enjoy historical fiction, ghost stories, maritime adventures, or simply a well-executed piece of flash fiction, I encourage you to give it a read. Just remember: if an experienced sailor tells you not to chase the ghost ship, you should probably listen!

Have you gotten to peruse Boats Planes Cars and Trains yet? What was your favorite piece?

See John read “Lex Talionis”

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.

A Poem Worth Revisiting This Independence Day

Published on July 4, 2026June 24, 2026 by diannePLeave a comment

Every Fourth of July, Americans revisit familiar symbols: fireworks, flags, parades, and historical speeches. This year, I’d like to suggest revisiting a poem.

One of the most influential poems in American history is “The New Colossus” by Emma Lazarus. Written in 1883 to help raise funds for the pedestal of the Statue of Liberty, the poem was not originally intended to become famous. In fact, it was largely forgotten for years after it was written.

Most people are surprised to learn that the poem was not originally part of the Statue of Liberty. The statue itself was a gift from France celebrating liberty and democracy. It was only in 1903, sixteen years after Lazarus’s death, that a bronze plaque bearing the poem was installed inside the pedestal.

Today, however, many readers recognize its closing lines, which have become inseparable from the monument itself:

“Give me your tired, your poor,
Your huddled masses yearning to breathe free…”
Emma Lazarus

What fascinates me about “The New Colossus” is that it did something very few poems ever accomplish. It changed the way people saw a monument.

The Statue of Liberty was already standing in New York Harbor when Lazarus wrote her poem. Yet over time, her words became so closely associated with the statue that many people now think of the poem and the monument as a single work. A few lines of poetry helped shape how generations of Americans understood one of the country’s most recognizable landmarks.

That’s an extraordinary accomplishment for any writer.

As poets and readers, we sometimes forget how powerful language can be. Most poems will never become part of a national conversation, nor do they need to. Yet “The New Colossus” offers a reminder that poetry can leave a lasting mark on culture in unexpected ways.

I also enjoy the fact that the poem’s influence wasn’t immediate. It wasn’t a viral sensation. It wasn’t an overnight success. It spent years in relative obscurity before eventually finding its place in American history. There is something encouraging about that for writers.

As Independence Day approaches, consider taking a few minutes to read “The New Colossus.” Even if you’ve encountered those famous closing lines before, reading the entire poem offers a new appreciation for what Emma Lazarus accomplished.

More than a century later, people are still discussing her words. That’s not a bad legacy for a poem.

Do you have a favorite poem that feels especially American to you? We’d love to hear about it in the comments.

The New Colossus

BY EMMA LAZARUS

Not like the brazen giant of Greek fame,
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”

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!