I have been collecting craft essays since September 2020. It was my pandemic project and is becoming a fantastic online gallery. This is a phenomenal collection that current leading artists speak their thoughts of their creative processes. This is so unique because this is different from journal & magazine publishing. This is more personal and something fantastic is starting. Welcome to Working on Gallery!
"This is not a poem. Please do not submit to us again".
This comment came with a rejection letter before my graphic poetry, "Protest Against", was accepted by North American Review.
I truly understood the concept of submission; however, this comment had stayed in the back of my mind. Since then, I started thinking of how I categorized my works and how they could be accepted as poems...though is categorization even necessary? This thinking influenced all my graphic projects afterward.
Even though stories and poems with visual elements were not new ideas, some writers & poets made a clear division between written words and painted images. When I observed contemporary pieces that expressed both images and words with writers, they criticized the written parts of it. I was one of them. I had my own poetic vector and judged these pieces by my developing poetic knowledge.
However, I am not saying that criticizing is a bad habit. It is necessary; especially in editing. All editors would like to cherish their selected pieces and create their publications for the best. In addition, the piece might not follow their current theme, even though it may be an interesting piece.
During the last two weeks, I collected essays about visual submissions by editors at the Indianapolis Review and the North American Review for this blog. They were actively accepting their visual/graphic poetry submissions. Both editors had similar submission goals. Almost like I found my own craft tribes.
The freedom I feel when approaching a blank page to write or paint on (or both) is exhilarating, as much as it is overwhelming. I think it helps tremendously to study what artists and writers believe about the practice and theory of making art, but ultimately you want to achieve that abstract, elusive goal: be an original: create in a voice that is all your own. -- Natalie Solmer, Founder and Editor of The Indianapolis Review
I’ve begun using the word “excellent” or “best” less and less, preferring words like “necessary” or even “involving.” -- J. D. Schraffenberger, Editor of the North American Review
The two editors also mentioned how important it is to be openminded. It might be easy to say it, but harder to do it!
When I was processing the first issue of RHINO Poetry *graphic* Review in 2019, it took me a decent time to gather proficient contributors who understood the concept of writing a book review with visual elements, which means that some parts of their reviews might be expressed as graphics without words. I was seriously nervous when the first issue came out thinking some people might say, "They are not book reviews. Please don't do it again."
Because of the first fantastic five contributors, the issue received phenomenal praises domestically and internationally. Therefore, the spirit could carry on to the second issue. The following year, new contributors were introduced to the review editor, Angela Narciso Torres, and me.
The nine contributors created graphic reviews including two animations. I am already excited to organize the third issue in 2021, and am looking forward to meeting the new contributors who explore possibilities with words and images.
Through my own graphic poetry submissions and RHINO *graphic* Reviews, I have been meeting talented writers and poets who craft their writing with visual elements. It was good to be reminded that I was not alone.