Should I Tag Writers on Social Media?

There’s no simple yes or no answer. Unless a writer has a very strict “read no reviews under any circumstances” policy, most writers are likely to welcome being tagged in a positive review. However, if someone has written a savage review and tags the author in the hope of getting a reaction, no writer would welcome that tag and the tagger needs to ask themselves if this is the best way of getting a point across (hint: it isn’t). It’s also a question of numbers. Getting one or two tags occasionally doesn’t feel too onerous, but getting thousands in one day feels overwhelming because each one is effectively a demand on a writer’s attention. Even just to read the post and decide not to respond takes time away from actually writing.

Why Tag Writers on Social Media?

The reasons for tagging writers on social media generally fall into one of the following categories:

  1. You want the author to know you’ve bought their book
  2. You’ve posted a photo of a book or books and want the author or authors to see
  3. You’re participating in a blog tour or have received a guest post and want the author to know it’s live
  4. You’ve written a post or reviewed a book and want the author to see it
  5. You’ve seen a post/review/article about the author or a subject they write on and think they need to see it
  6. You want to ask the author a question and, since you follow them on social media, that seems the easiest way of going about it

Do You Need to Tag the Author?

  1. It’s great to know someone’s bought your book and a tag in a brief, tweet-length post doesn’t take that long to read.
  2. Again, it’s great to see books being read and a tag in a brief post that doesn’t link elsewhere doesn’t take that long to look-up. If you’re posting one platform with a link to another, check your post explains why followers need to click your link. Just posting the link with no explanation looks like spam. Please only tag an author once. If you’ve tagged an author in the original post, don’t tag them in posts that link back to the original.
  3. It’s polite to let authors know that you’ve completed your section of a blog tour or their guest post has been used, but, again, please only tag an author once. If your post gets shared, the notifications start to get numerous and potentially overwhelming.
  4. Some authors don’t read reviews and don’t want to be tagged in review posts. Reviewers won’t know which authors have this policy though so tag once and include the publisher so the author can see that the publisher’s been informed and they don’t need to do anything.
  5. If you’ve seen a post/review/article about the author or a subject they write on and think they need to see it, don’t tag the author. Chances are the author’s seen it or knows about it. Writers research. Many do searches on their names or book/poem/story titles to check for pirating/ plagiarism. Following through on you tag is wasting their time and giving them less time to actually write.
  6. You want to ask the author a question: don’t do this on social media unless the writer has agreed to take part in a question and answer session online and only ask questions during the session.

Why Should I Not Tag the Writer in a Question on Social Media?

A question is rarely a simple yes or no (even if you think the answer is yes or no) and it may take time to provide an answer. Leaving an unanswered question on social media makes it look as if the writer is tardy in providing the answer whereas in fact it’s the questioner’s fault for asking an unsolicited question in the wrong medium at a time that makes it difficult for the writer to answer.

If you’re asking an author to do something for you, use a private channel. If you can’t find the author’s contact details, approach via a publisher. Tagging is lazy and says you couldn’t do your research, so why should the writer bother to respond? Responses may also encourage others to follow so suddenly one request, which might have been manageable, becomes ten or more, which isn’t manageable and public refusals may reflect badly on the author even though the fault lies with the requester for not making a reasonable approach.

The other problem with tagging a writer in a request (to comment on your review/post, to write a review, look at your manuscript, etc) on social media is that you have made that request public and your request has an audience. The writer’s response therefore is also public and also has an audience.

It is very difficult to tactfully turn down a public request even if the writer has painstakingly explained why they can’t comply with the request before turning it down. Making that public request looks like a form of bullying or blackmail since your audience are expecting a positive response and may draw negative conclusions before considering whether the original request was reasonable or not. I blogged about Social Media Bullies here. Don’t be one.

Emma Lee’s The Significance of a Dress is available from Arachne Press. The link also has a trailer featuring the title poems and samples of some of the poems from the collection. It is also available as an eBook.

book table at 14 March launch


NaPoWriMo 2020

I hadn’t planned to do NaPoWriMo this year. “The Significance of a Dress” had two launches planned at the beginning of March, one of which had to be rearranged at very short notice to a reduced audience. There were further readings planned later in March and events in May; all delayed or cancelled. Poetry books mostly sell at readings. Chain bookstores don’t support poets. Promotional activity had to move online at a time when Amazon deemed books non-essential and Hive temporarily shut then reopened in a limited capacity, so getting word out that independent publishers and book shops were will still open and delivering became more crucial than ever. My employer is a supply chain to local government, schools, academies, charities, the police and NHS and became a food hub for Leicestershire, making up food parcels for distribution to vulnerable people during lock down so I was still working, albeit from home. NaPoWriMo therefore became a way of carving out a period of creativity each day, a time to play when work seemed to be dominant.

Unlike previous years when music and reading were key sources of inspiration, this year ekphrastic poems came to the fore. Ekphrastic poems take a piece of art (not necessarily visual art) and provide a descriptive narrative either of the scene depicted or giving voice to the subject. Not being a particularly visual person – I even think in words rather than images – I guess this inspiration came from a place of wanting to find different sources of inspiration.

It wasn’t the sole source. Some poems were inspired by overheard phrases, some by submission call-outs where a magazine or competition asked for pieces on a theme. Of course, writing to that theme doesn’t mean your poem can’t be submitted elsewhere, although it does have to work outside of the context of being a piece of work on a set theme. Similarly, I think ekphrastic poems have to work as pieces that can stand alone apart from the artwork that inspired them. Naturally, people familiar with artwork may see references and layers that those who don’t know the artwork may miss, but it’s not always possible for magazines or publishers to reproduce the artwork as well.

Are there any pandemic-inspired poems? Naturally, around eight of them. All but one will work outside the context of Covid-19 so if I decide to submit them for publication they won’t need a pandemic-specific context. While it’s right that writers (and artists) bear witness, I don’t think it’s right that writers pressure themselves or have external pressure urging them to write directly about the pandemic. Some writers will respond fairly immediately, others need time for ideas to take shape and form not because they are slow or poor writers but because their writing process is different and transforming an idea to a fully-formed poem takes a different route. The best work rarely comes from a place of being caught up in the experience. Those who have been furloughed, had sufficient savings to remove financial worries, weren’t also trying to home-school children and had a garden to relax/exercise in, will have a very different experience to someone trying to home-school and do a full-time job from home, who will have had a difference experience to a key-worker unable to work from home, whose experience will differ from someone with underlying conditions who has had to self-isolate without access to a garden.

I’ve listed the titles of my draft poems at NaPoWriMo as usual. I will update if any are subsequently accepted for publication.

Emma Lee’s The Significance of a Dress is available from Arachne Press. The link also has a trailer featuring the title poems and samples of some of the poems from the collection.

Emma Lee The Significance of a Dress cover image

The Story of The Significance of a Dress’s cover

The title poem, “The Significance of a Dress”, was inspired by a published interview with a woman who runs a wedding dress hire shop in a refugee camp in Northern Iraq, which also offers hairdressing and make-up services. The make-up and hair styles have to withstand desert heat and remain in place well into the night.

What’s often forgotten or overlooked is how long refugees can find themselves in limbo, stuck in a camp. What work they can do is restricted or even not permitted yet refugees still have to pay for food and utilities. Some have already paid most or all of their savings to traffickers. Some might be able to source funds from distant family members. Many take on unskilled labour. A former seamstress might take in repair work. The wedding dress hire shop owner already had contacts in the fashion industry.

In camps, there’s usually no shortage of young, single men. Many of whom have fled after witnessing the death of family members. Almost all are at risk of being conscripted into the military or forced to fight for rebel militias. Returning isn’t an option so they wait for their paperwork to be processed with the additional stress of an uncertain future.

Many families in these camps worry about protecting their daughters. Harassment and assaults are common and police are rarely involved; those in the camps are wary of authorities and local police forces don’t necessarily have the resources to police the camps as well. Marriage seems to be attractive way of protecting an daughter in her late teens or older. There was a mural in this particular camp, placed there by an international children’s charity. It shows a picture of a girl in a white dress and hijab holding a teddy bear as a warning against child brides. Not marriages, however, will be for protection or transactional.

The images used in the interview were subject to copyright and it is appropriate and impractical for me to travel to the camp just to get a photo for a cover image. The challenge was to find an appropriate image where copyright wouldn’t be a issue.

An image from a bridal shop in the UK would not have worked. The dresses would be pristine and not designed for desert heat. There may have been copyright issues with dress images and designer permissions to negotiate. A bride-to-be taking a photo to show family is fine, but for a cover image permission would have to be sought. It would have to be a public photo, not one take in a private space.

I got lucky. Wandering round Leicester’s city centre, a pre-loved dress hung in a charity shop window and, using some clever angling, reflections weren’t a problem. My photo is my copyright. Photo taken, it was then converted to an embroidery chart and cross-stitched. Fortunately Arachne agreed the the cover should feature sewing. The stitched title was provided by Arachne – it was originally done to feature in the book trailer.

Original embroidery for The Significance of a DressPhoto of embroidery for The Significance of a Dress

It’s also the first time my embroidery which is strictly a hobby, features on a book cover. In the original embroidery, the dress is white. When I took a photo in daylight, it retained its whiteness. But white is a cold colour. Taking a photo of the embroidery under artificial light gave it a sepia effect and a warmer tone so was the image used in designing the cover.

Please note new date and venue for the launch: 7-9pm Saturday 14 March 2020, Scraptoft Community Hub, Malsbury Avenue, Scraptoft, Leicestershire LE7 9FQ.

2020 03 14 New launch



Don’t Give Up, find your Writing Tribe

A recent twitter post suggested a writer was giving up entering competitions and trying to get published because they hadn’t made a short list. I hope the tweet was fired off in the aftermath of disappointment and not an actual plan.

Writers have very little control over who wins competitions or gets published. That control lies with editors, publishers, competition judges, literary agents and other gatekeepers. Setting your worth as a writer in terms of getting your work published or placed in competitions is wrong. A literary agent can love your novel but be unable to find a publisher, an editor can like a poem but not be able to make it fit with emerging themes when putting together a magazine or anthology, one judge on a judging panel may have loved your poem but be outnumbered by others who loved other poems. Rejection slips aren’t necessarily a judgment on your work. “Not this time” really does just mean “not this time”; next time might be a win.

What writers do have control over is what they write and the craft that goes into it. You can read, write, edit and polish your work. You can develop your craft. You can do your research and match your work to suitable markets or competitions. You can measure whether you feel your writing is stagnating or improving. Make your measurements achievable and realistic: failure to meet your own goals will lead to disillusionment. This is why writers should never measure their achievements in terms of publications and competition places but in terms of am I sending out more pieces for publication this year, do I feel my work is improving, am I still enjoying writing?

What helps is joining a writers’ group or finding fellow writers to follow on social media. You’ll open up a world of tips, advice and helpful solutions. You’ll learn that publication or getting placed in competitions is a bonus, not validation. Getting constructive feedback on your work will help you develop and improve as a writer. Knowing others get overlooked and collect rejection slips gives a sense of not being alone. Much better to vent to a fellow writer over a drink than vent on social media where others might misinterpret what you’re saying.

Tips for getting a Review

Most magazines and bloggers who also carry reviews get more review requests than they can take on. Giving the reviews editor/blogger the information they need and mention why your book is a good fit for their magazine/blog will make you stand out in a positive way.

  • Check with your publisher so you don’t duplicate requests
  • Create a list of magazines and bloggers that review
  • Check the magazine/blog review guidelines. Most ask for a request first rather than the full manuscript so that the editor/blogger can decide whether they are interested and if they can fit a review in before committing. Some editors make the decisions themselves, others match a book to a reviewer first.
  • Keep a list of who you’ve approached. Asking a reviewer more than once creates unnecessary admin and tempts the reviewer to withdraw an offer to review.
  • Don’t follow up a request within 48 hours or less. Most review editors/bloggers are working voluntarily around other commitments. Chasing them for a response will encourage a rejection.
  • Give the editor/blogger the information they ask for or at least your book’s title, publisher, ISBN and publication plus a paragraph about the book and a brief author biography. Don’t send a link and expect an editor/blogger to look up the information on a website, especially when you’ve not given them the title so it’s not clear which book is being offered. Demanding more from someone who’s already busy makes you look entitled.
  • Remember your request is unsolicited and the editor/blogger is under no obligation to respond positively.
  • Be professional and courteous. You need a review but a good reviewer has plenty of options and doesn’t need to review your book.
  • Don’t demand your book is reviewed on or by a specific date. Magazines and blogs have their own publication schedule and might not be able to accommodate your request, although most will try. You don’t know what else the editor/blogger has committed to review.
  • Bear in mind a magazine published in March probably had a deadline of mid-February and possibly earlier so your review request that arrived on 20 February won’t get a review written for the March issue. If you needed a review in the March issue, your request should have been sent in January or sooner.
  • A review further down the line is better than no review.
  • Remember it takes time to read a book and write a good review. A demand for a fast turnaround time is likely to be met with rejection. A fast turnaround might result in a review that looks more like copy and paste job from your author information sheet or the blurbs on the book with a couple of sample poems. That’s not a review.
  • Reviews a few months after your publication/launch date can revive interest after the initial flow of launch publicity
  • Once a reviewer has agreed to review your book, think twice before emailing to ask when the review will appear. Check the magazine/blog schedule and correspondence to see if the reviewer mentioned when the review would appear.
  • Time taken away from reviewing to respond to emails, particularly when the question has already been answered, creates delays and you might find future requests are turned down because the reviews editor/blogger has written you off as a nuisance.
  • When a review appears, thanking the editor/reviewer is a courtesy, but a social media share is better. When you share on social media do reference the reviewer’s name, don’t just quote without attribution/credit.
  • Don’t ask a reviewer to change a review unless a factual error has crept in. A reviewer isn’t going to change their opinion and you may lose a future review outlet.
  • Remember social media posts are not private. Your post-review rant might be shared with the reviewer, even if your original post was set to private.
  • Don’t be the author who starts a social media pile-on because you didn’t like a review. You might be angry or feel the review was undeserved, but you look like a jerk to other reviewers who might have given a more sympathetic review and have now decided not to review any of your work because you’re happy to throw shade at reviewers.


Ditch the Word Count

There are plenty of examples of (bad) advice to writers that state something along the lines of “write 1000 words per day” or “I write 2000 words a day” or worse, “if you’re not prepared to get up an hour early and write 1000 words, you’ll never be a writer.” It’s all useless advice to a poet where the aim is to use the best words in the best order as succinctly as possible. But it’s also useless advice to prose writers whether you’re writing non-fiction or fiction. Here’s why:

  • 500 edited words of publishable standard are better than 2000 words of free writing; quality beats quantity.
  • The pressure of a useless target is not going to make you a better writer. Find a more productive target such as half a dozen poems of publishable standard by the end of the month or polish a piece of flash fiction to meet a competition deadline (even if you decide not to enter) or get that review I promised written.
  • Some writers don’t write in regular daily amounts. Some are writing around a day job and/or family commitments. Some will write in a concentrated burst over a few weeks rather than daily.
  • Getting up early doesn’t work if you’re a night owl or if you have caring responsibilities because it assumes you can get to bed early enough to give yourself enough sleep: skipping sleep will not make you a good writer.
  • Similarly, staying up late doesn’t help larks. Best to try to organise you day to fit in writing when you write best.
  • Some with disabilities need to prioritise self-care. Stretching yourself to reach an unobtainable target will be counter productive. Do as much or as little as you can and don’t feel guilty.
  • On rare occasions, the laundry is more urgent than writing.
  • It’s natural to compare yourself to others, particularly during NaPoWriMo or NaNoWriMo ((inter)National Poetry/Novel Writing Month), but make sure your comparisons are productive ones rather than destructive ones. I submitted more poems this year than last year is good. I haven’t written as much as poet A is bad: you weren’t meant to write as much as poet A.
  • Remember too, people tend to post good news on social media. They’re going to tell you about the days they achieved their target, not the days when they didn’t.
  • Do the writers who say “write x number of words a day” actually do so? If they do, are those words any good?

The main reason it is lousy advice is that writing, especially creative writing, is not about getting words into a document. The mechanics of typing out x number of words can be done by a transcription service or software or a bunch of monkeys. That’s when word or line counts are useful, it ensures poems are short enough to publish in magazines, it differentiates between a short story and a novel, it helps editors ensure that they’re not publishing haiku alongside epic poems or flash alongside a novella. Typing is not writing.

Writing is the reading, thoughts, dreams, research that happens before typing starts.

It might happen on your commute, during your walk, whilst you’re out running or swimming. It might be the thing that woke you up so you had to scrabble for a notebook or phone to capture the idea before it was lost. It might be the notes you scribbled between appointments. That compelling image you snapped. An overheard fragment of conversation. A phrase that became an earworm. The idea that linked to another idea that became lines of a poem or a scene in a story. The things you can’t measure in word counts.


Your Characters are not Tourist Brochures

A sizeable portion of unpublished stories I’ve been reading recently involve their characters travelling somewhere they’ve never visited before. In a couple of cases, this was due to relocation, but in most the characters were tourists. Most of these stories bored me, even when the characters were travelling to places I had never seen so the boredom wasn’t down to familiarity. Usually a tourist visiting a place you’re familiar with sees it with a fresh set of eyes or queries something you’ve taken for granted. That was the problem, none of these travelling characters were seeing their scenery with fresh eyes. I was bored because I felt as if I was reading a tourist brochure and it made me query why I was reading the story.

How do writers avoid their characters sounding like tourist brochures?

Why is your character making this journey?

If they are relocating, are they anxious about it or keen to leave their current location behind? If they’re anxious, they will notice signs of authority such as police uniforms, street signposts, fire escapes, narrow alleyways, how crowded/empty the streets are. If optimistic, they’ll notice open spaces, bars and cafes, places they’ll want to visit.

If it’s a holiday or business trip, how prepared are they? Do they see it as a break, change to recharge, or is it a source of anxiety? Is your character the type to triple check they’ve packed their passport, have a packed itinerary with no chance of spare time or have already checked out the best locations for Instagram photos before they get there? Or is your character more likely to sling a few outfits in a weekend bag and plan to figure out their plan when they get there?

Are they travelling alone?

If so, did they organise the trip themselves or did someone else organise it for them? Do they spent the journey picturing themselves at their destination or worrying about what they’ve left behind?

If not, how do they feel about their travelling companions? If a business trip, are their fellow travellers talking about business non-stop or do they see it as a break and chance to relax? If with family members, how responsible for the others does your character feel? Is your character the one checking timetables, making sure everyone sits near each other and is comfortable? Or does someone else in the group do this, giving your character time to daydream?

Do you need to include the journey at all?

If the journey’s boring and uneventful, skip it. If disaster strikes or your character has an epiphany, include it.

When your character arrives

Are they due to meet someone and does that someone turn up on time with a welcome and reassurance or are they late and hostile? Does your character want to sight-see straightaway or head to a hotel and unpack? Is the place they’re staying better or worse than they expected? A hotel room might be gloomy or bright and airy, does it match or contrast with your character’s mood?


Character A in story A visits attraction 1, attraction 2 and attraction 3. They take some photos, pick the best to upload to social media, take a break for a coffee and then visit attraction 4. Next day they do the same, except they visit attraction 5, attraction 6 and attraction 7, saving attraction 8, attraction 9 and attraction 10 for the day after. They give as much insight into what they’re seeing as a tourist information brochure. The visits go smoothly and nothing untoward happens. Nothing dramatic happens until they visit attraction 11.

Character B in story B goes to visit attraction 1, supposedly the most popular tourist attraction, but finds it closed for refurbishment. They check their schedule and decide to move on to attraction 2, figuring they can stay longer and move on to attraction 3 at the scheduled time. At attraction 2, there’s a huge crowd and they can’t get close enough to the attraction to get a good look. When they push their way through the crowd, the attraction’s smaller then they thought it would be and the shadows make it impossible to get a decent photo. They push their way back out of the crowd and get to the bus stop to move on to attraction 3 only find their wallet’s been stolen. They slump to the kerb. Not speaking the local language, they see no point in reporting the theft. Storm clouds gather.

Character C in story C picks attraction 1 because of their interest in the artifacts/ history of the attraction and finds it exceeds their expectations, moreover they meet someone who seems interested in them and agrees to a dinner date. Their date then tells them an amusing story not in the guidebooks and offers to show them the real treasures of the place, taking them off the beaten tourist paths. Not only do they learn more about the place then they would have done through an official guide, they learn even more about their date. Character C hurries back to their hotel, eager to ensure they look their best and carry on their earlier conversation. By the end of the date, they decide that love at first sight really is a thing.

Which story would you read and why?

I bet none of you chose story A or at least you’d have skipped the sightseeing episodes in the hope that something really did happen at attraction 11.

What’s missing from story A (at least in the first 10 attractions) is the character. We don’t know their motivations for picking the sites they visit, we don’t know how they feel or what they observe at those attractions and they’re doing typical tourist actions. Moreover, the visits aren’t moving the plot on or laying foundations for future drama. Not readers would bother sticking around to find out what happens at attraction 11.

In stories where the character relocates, some writers chose to start with the main character in their original location, explain the need for relocation, describe the journey (often boring unless something happens that’s relevant to the story) and have their character arrive, often using bland observations so readers aren’t seeing the journey though the character’s eyes. Of course the story actually starts at the point of relocation so the explanation about the need for relocation is backstory and the writer’s started in the wrong place. An error they’ve compounded by making the journey boring and lacking in insight.


Ideal Writing Conditions

“Do your best with what you’ve got”
Toni Morrison 18 February 1931 – 5 August 2019

What are your ideal writing conditions?

A large desk with space not only to write but to hold stacks of notes, reference books and plans with a whiteboard for temporary notes? Or a small desk, just room for a laptop, and no distractions.

Do you have a window with view with an appealing landscape or a windowless room so the only thing you can focus on is your screen? Does your ideal room have bookcases and a couch so you can take a break and read? Or a daybed for daydreaming? Or a stationary cycle or treadmill so you can use a burst of exercise to refresh? A coffee machine permanently bubbling away or poi pourri strategically scattered with scents to motivate?

Do you have internet access so you can quickly research on the go or do you block social media? Do you have music on or write in relative silence? Or are you the type of writer who prefers to sit in a cafe, surrounded by a buzz of people?

Do you have an optimum routine: perhaps some exercise in the morning and then a solid block of time to write or do you prefer to write first and take long walks in the afternoon? Do you do all your research and plot out your writing before you begin or do you research as you go?

Are you the sort content to write in isolation, only sharing work once it’s thoroughly published or do you want to be close to beta-readers for quick feedback or to discuss a knotty problem in line two or whether your current sonnet needs to rhyme or not?

Do you write first drafts with a specific brand of pen in a specific brand of notebook or scribble on whatever’s to hand? Do you prefer to draft on a phone or laptop? Do you have to create a certain ambience to write?

Who provides your meals and picks up the household chores?

Sorry, reality intruded there, didn’t it?

Very few writers get to write in their ideal conditions. For most of us, life really does intrude and we have to drop the idea of creating a specific set of conditions to write and making do with the conditions on offer. That means figuring out when the best time to write is and, as far as possible, arranging a routine around it. It might not be a separate room but a corner in a lounge or a favourite spot in a cafe or library if home contains too many distractions. It might be creating a short routine, a metaphorical sharpening of a pencil, to make a buffer between a day job and writing or between family demands and the need to re-enter a manuscript’s world.

It means moving away from the idea that there are ideal conditions to write and creating conditions to write in. It takes discipline and desire.

Creating Time to Write isn’t Selfish

Women’s time has been interrupted and fragmented throughout history, the rhythms of their days circumscribed by the sisyphean tasks of housework, childcare and kin work – keeping family and community ties strong. If what it takes to create are long stretches of uninterrupted, concentrated time, time you can choose to do with as you will, time that you can control, that’s something women have never had the luxury to expect, at least not without getting slammed for unseemly selfishness.

Quote above from The Guardian.

It takes a determined effort to be writer and a mother, especially if you also have to work (freelance or a regular job). Nurseries, schools and childminders still default to contacting the mother if there’s a problem: fathers are only considered if the mother is unavailable. Children sleep but not consistently and not always when it’s convenient to write. Older children may be happier to watch something/read/draw independently but still want a parent nearby or will interrupt when the programme’s finished/the book’s finished/a crayon snaps. Getting up early might work if children sleep in until 8am; not so doable if they’re still waking at 5am. Writing late at night’s fine if you’re an owl, but doesn’t work if you’re a lark or the day proved exhausting.

Not all mothers have access to a nearby, supportive network of friends and/or family who can make up the childcare gaps and that impacts on writing time. Many fathers still see their partners as household managers, simply because she’s a mother, even if she also has another job, and fail to appreciate how absorbing that role is. Sometimes it’s not possible to share parental duties with a partner. Every mother knows it’s impossible to write while being constantly interrupted, re-writing and re-organising mental to-do lists, remembering when games kit is required, when school friends’ birthdays are, friends’ food allergies, finding creative things to do because it’s raining again or because you really cannot face “Peppa Pig” for the 121st time.

How you do combine a selfless activity (mothering) with a selfish one (writing)?

  • Don’t see it as selfish. If you’re a writer, you need to write and that means carving out time to write.
  • Don’t get discouraged by a bad day. You might find today only had 20 minutes available so make the most of it and don’t set an unachievable goal. Setting daily goals might not be doable but weekly ones might allow for fluctuations in time.
  • Train others not to interrupt. Don’t answer the phone if it goes during your writing time and the call isn’t urgent. Don’t answer the door to unsolicited callers.
  • Encourage family/friends to make appointments rather than turning up at their convenience and expecting you to be available. If they don’t, treat them as unsolicited callers (they wouldn’t turn up at a work place so they shouldn’t turn up when you’re working).
  • Don’t let those close to you persuade you your writing is “only a hobby”. If writing is important to you value it and prioritise it.
  • Procrastinate usefully; it’s amazing how many press releases I’ve written because I’ve been putting off a review or how many reviews were written because I was putting off a poem or how many laundry items get ironed while I’m working out a tricky plot point or how many stories have been drafted while I’m gardening (if I didn’t procrastinate, the gardening would not get done at all).
  • Learn to write on whatever’s to hand. We’re all guilty of preferring to write longhand in notebooks or to type straight onto a laptop, but mobile phones or scraps of paper are just as useful for first drafts or scribbling down an idea.
  • Create a writing base: need not be a desk or room of your own but a stack of letter trays on a sideboard or a kitchen table drawer where you can quickly set up a writing space and keep notes/research for your current project in one place.
  • Be adaptable: you may think you need a long chunk of time to write a novel or produce a pamphlet-length sequence of poems, but it’s possible to work a chapter at time or a poem at a time. A chapter, with a little editing, might work as a stand alone story. Each part in a sequence might work as a stand alone poem. These become pieces that could be published while you’re still working on the next section.
  • Consider reviewing – it’s a good way of combining reading with study and if you get your reviews published, you’ll have something to show for your work.
  • Children copy what they see. Happy mother = happy children. Miserable mother = miserable children.
  • You’re not just a mother. Your children need to see you combine the roles you have so they see mother is not just mother. You also need to write: frustrating part of your identity doesn’t work. Writing will re-energise you.


Instapoetry – is the bubble about to burst?

Extract from Emma Lee's poem A Peacock's Display, The sun shone on St Basils this morning. This evening I'll be in St Petersburg in a hotel lobby rolling my eyes as a human peacock says he has a yacht and gives me his room number.

Extract from my poem A Peacock’s Display published in Foreign Literary Journal

Instapoets, who post their usually short poems often on an accompanying image, account for more than 12% of the £12 million poetry book market in the UK according to Neilsen BookScan. That doesn’t seem like a huge portion, however, with most book stores offering a poor poetry selection, poetry sales generally happen at readings with poets expected to get heavily involved in promoting their book(s). Poets have a strong incentive to find ways to get their poems in front of readers. Is Instagram a genuine medium or is its bubble about to burst?

Most are aware of Rupi Kaur’s story: the writer who posted her work on Instagram, gained and kept followers and got a book deal with Simon & Schuster – not a notable poetry publisher. S A Leavesley (Sarah James), poet and a founding editor at V. Press, has written several articles about her photo-poetry. As a reviewer, I’ve seen a slight increase in the number of poetry books with illustrations and I’ve had to consider whether the illustrations enhance or detract from the poems as part of my review. I’m not considering quality as part of this article: self-published poems on one platform are no different from self-published poems in other media; the occasional fleck of genuine gold amongst a lot of pyrite.

One of the key advantages of instapoems is the instant feedback. A poet posts and gets likes and comments directly from readers within minutes. A poet giving a reading also gets instant feedback from the audience but the audience doesn’t get to see the layout of the poem so the feedback can say more about the performance than the poem. Some online magazines allow readers’ comments but there’s a gatekeeping editor who gets to choose which poems are published.

Instagram allows a poet to directly engage with readers and find readers who wouldn’t pick up a poetry book or go to a reading. A popular instapoet can acquire millions more followers than poetry magazines. More followers creates pressure to produce more instapoems since followers and algorithms favour new content and it takes discipline to manage followers’ expectations without losing them and dropping popularity status. Newer poets can copy the tried and tested routes of established insapoets and build their own platforms of readers.

Who needs a publisher when they’ve thousands of followers? Why go through the angst of submitting work to editors and the disappointment of rejections when a poet can post directly for readers’ attention? No poet earns enough to live on through publishing their poems in whatever medium. Most income for poets comes from readings or teaching, not publishing.

However, instapoets are vulnerable to Instagram’s support. When you’re playing in someone else’s sandpit, they get to set the rules. When you’re playing for free, you don’t have any leverage. Instagram want users to have followers and want users to have social engagement, to draw advertising, as well as users who are going to pay for promotions because running a social media platform isn’t free.

Instagram fairly recently changed its algorithm so it prioritises posts with user engagement, not necessarily showing posts in chronological order. That means, for instapoets, that followers may not see new poems but keep seeing older posts with more comments. Instapoets are finding their audience is falling as a result.

To counter this, poets can promote their posts, which then mostly appear to readers already following the poet rather than potential new readers, and that feels close to paying to be published. It also has an impact on publishers’ interest since publishers base their decisions on the number of followers. Those with established followers may just take the hit of paying for promoted posts. Those with 1 million or more followers often have their own range of merchandise to subsidise and promote their original Instagram posts. Poets new to Instagram face a long road of persistence to promote themselves and gain followers. Instagram is behaving like a publisher who prioritises their duty to book buyers and readers over a duty to writers. That’s where instapoets come unstuck because Instagram isn’t obliged to tweak their algorithm to favour instapoets’ interests.

Instapoets’ vulnerability is not Instagram’s fault. Many instapoets created their own vulnerability by becoming reliant on one platform. Those who survive algorithm tweaks will be those who saw Instagram as one of several possible platforms and built an audience through publishing and readings alongside publishing on Instagram or monetised their instapoetry with merchandise. Those whose sole route to a readership was Instagram will fall by the wayside.

Poets need to be alert to new opportunities, but also need to be alert to vulnerabilities. Social media’s great, but if you only publish on social media, you are vulnerable to businesses whose priority is profit, not poetry.

TL;DR: always have a Plan B.

#StoryCities #Market image shows woman in red jacket in front of a market stall. Quote in image, Tomorrow she might be back. The red jacket swapped for a beige trench coat.

Quote from flash fiction “The City’s Heartbeat” in Story Cities from Arachne Press.