Posts Tagged Cordelia magazine
Do you write shortform? I have two opportunities for you.
If your forte is piercingly, wincingly, blazingly short, the 50 Give or Take series from Vine Leaves Press wants your work. The editor is my friend Elaina Battista-Parsons.
Does Elaina sound familiar? You’re right. She came to my blog to talk about her memoir Italian Bones In The Snow.
If 50 words is too tight and you like to be thoughtful at greater length, Elaina still wants your goodness. She’s also an editor at Cordelia Magazine.
Go here to her blog and follow the trails.
Elaina also invited me for a brief chat about my writing, my favourite music, my favourite decade and advice for new writers. In the same post she featured the work of pop musicologist Quentin Harrison, and that’s an inspired pairing – Quentin has a series of books (Record Redux) on pop icons, explored through their songs, and I mainlined books on bands when I wrote my novel Ever Rest. We were destined to meet.
‘All humans are alone… and weird’ – how I made my writing career by Elaina Battista-Parsons @BraveIrene77
Elaina Battista-Parsons says she likes to write about what makes her weird, or gives her chills, or makes her happy. Thus was born a collection of essays and verse that became a memoir, Italian Bones In The Snow. Here, she talks about everything that makes her, and her books.
Your Facebook name is Winterwriter Battista. Tell me what it means.
Battista is my maiden name, and I really love it. I always have. As a kid, I’d love crossing the three ts when I wrote in script. Winterwriter is for my absolute adoration of winter. It’s when I feel most creative, most alive, and most in tune with everything.
What do people call you?
Where did you get your urge to write?
It began in third grade when I wrote about a trip to the Poconos mountains with my family and our close friends. I won an award for that piece.
Were you surrounded by arty people as a child?
There are a ton of creative arteries running through both sides of my family—no writers that I know of, but seamstresses, painters, sculptors, instrumentalists. My mom is excellent with sewing fabrics and cooking. My dad is a mechanical tinkerer. I was exposed to music of all genres growing up, all the time. We had a set of huge speakers in the living room. So yes, literally—surrounded.
Looking at your Instagram, you are a dervish of creativity. There are lists of stuff that shouldn’t go together, but when viewed in your excited handwriting they somehow do. I quote: First loves, first lusts, bread, cemeteries.
I don’t accept that things ‘don’t go together’. You can always find the common ground between bread and lust, LOL. Also, it’s all very spiritual. I mean, isn’t bread spiritual to everyone? No?
How does your creativity work?
My creativity usually begins with a memory of a feeling or setting.
Do you have a method? How do you get from feeling to finished work?
I wish I had a method. Instead, each project takes on a new form of being constructed. Italian Bones In The Snow flew out of my hands in a month or two, I swear as if my female ancestors took hold of the keyboard. I was just their conduit. My newer project is a full-length memoir. This project requires checklists, interviews, and daily word count goals. Less cosmic. It’s going to take much, much longer to get right.
You describe yourself as a writer across genres. Tell me about that. What do you write?
I swore my debut would be a middle-grade novel. I have written two or three full-length middle-grade novels, now sleeping on my shelf. Nobody wanted them. They need work. Then the first book contract I signed was with Inked in Gray Press. My young adult novel is called Black Licorice, and it will be in the world hopefully in January of 2023.
I also write poetry. Perhaps a picture book is somewhere in me too.
Italian Bones In The Snow is a book of memoir shorts, isn’t it? Talk me through it.
With Italian Bones there was more freedom than with a full-length memoir or a novel. I thank Vine Leaves Press for being so open to a collection as striped and asymmetrical as this.
How did you find a through-line to pull it together?
It’s arranged sort of sequentially, and sort of topically. It was like no other I have written. I wrote it fast and furiously, as mentioned above. Like I had to get it on paper, or I’d bust. It started as a series of random essays and word play, and then Melanie Faith, one of the most talented editors on Earth, helped me to see the common threads and sections. It’s divided into four sections based on concept, and many of the essays end in poetry. This collection is very accessible to people who don’t have time to read larger novels. It’s a quick, but with a salty bite. There is some chronology. I write about things that have moulded me: relationships, books, family, my mastectomy, Madonna, and music. To name a few.
You also work as a reading coach for students with disabilities. How did that start?
I have a private tutoring business where I specialise in teaching children with dyslexia. I’ve been doing that since 2005. I used to work in public schools, but our lifestyle works better when I work from home.
What other jobs have you done?
I began teaching in 2001 and remained in school systems until 2017. I’m also a three-level Reiki practitioner, but I don’t do that regularly, especially since Covid.
Have any of those jobs helped form you as a writer?
Everything helps me as a writer. Reiki gives me clarity. Teaching gives me joy.
Do you have any writing qualifications such as an MFA?
I do not! But I enrol in as many writing courses and workshops as I can, and those that work with my lifestyle. I have two daughters who keep us very busy. Currently, I am taking a fantastic creative writing class with Kathy Curto, author of Not for Nothing, Glimpses into a Jersey Girlhood.
You’re creative writing editor of Cordelia magazine. Tell me about that role.
Yes! What a lovely group of young women who’ve created this space for pertinent articles, essays, and stories. I found them on Instagram, and I am so happy to be part of their very new literary magazine. The editor-in-chief sends me submissions. I review, mend, and submit them back to her for publication. I love, love literary magazines, particularly ones run and focused on marginalised voices. I can say the same about independent presses. What a supportive community.
You’ve had poems and essays published in various magazines. Do you have a method for finding publications that are a good match for your work?
Submittable and Instagram have been great resources for finding good fits. Growing up, I’d devour any brochure, magazine, or catalogue that arrived in our mailbox. Or any I saw in waiting rooms. I love the ‘publication’, so I enjoy having my work spread out around these wonderful places that are run by passionate people.
Any advice for writers who are submitting to magazines?
Don’t overthink your pieces. They’re meant to be shared, not hidden in the caverns of your laptop. Perfectionism is paralysing.
How would you describe your style? What are the fingerprints of Elaina’s work? Any constant themes and curiosities?
I like to write what I know about. My work is rich in imagery and sensory details. I like to write about what makes me weird. What scares me. What gives me chills. What makes me truly happy. Most of all, I write about things that can maybe inspire others to not feel alone or weird. Because all humans are. Both alone and weird.
What makes you weird. What makes you happy or scared. I want to linger in this answer. It’s a perfect description of the personal essay.
Okay, a quick one. Writing or rewriting?
Lennon or McCartney?
After watching Get Back for eight hours with my husband, I have a huge crush on John Lennon. What a stunning and beautiful spirit he was. But….without Paul, there’s no Beatles.
Cluttered desk or tidy desk?
You have a YA novel coming out soon -a different audience from Italian Bones and your short pieces. Did you have to adapt your usual approaches?
I wrote the YA novel first. I’ll be super transparent here. Fiction is significantly harder for me to get right. My editors at Inked in Gray are the reason it’s developed for me. I am a better fiction writer because of Dakota and Justine. Italian Bones was a totally fresh and new experience from that. I can’t compare any of the approaches. Like oil and water.
Why was YA the right decision for that book?
I began writing it to mourn and process the death of a dear friend. It took on a life of its own from there.
If you’d like help with your own writing, my Nail Your Novel books are here. If you’re curious about my work, find novels here and my travel memoir here. And if you’re curious about what’s going on at my own writing desk, here’s my latest newsletter. You can subscribe to future updates here.