Not long ago, I assumed a new title within my organization. The new position involves thinking more like a manager and less like a classroom educator. This move has been a pretty big cognitive shift for someone who spent the last 15 years worrying about lesson planning, gradebook updates, project-based learning, community partnerships, and the latest instructional technology.
These days, the kinds of questions I’m asking are concerned with the bigger picture beyond the classroom: How is our organization performing? Are our customers being served in the optimal way? Who in our group needs help, and how might I provide it? Is our policy what it ought to be? What are our strengths, weaknesses, opportunities, and threats (SWOT)?
To the literary-minded among you, I apologize. All this business talk is probably anathema to your very existence. But as one to whom it was equally foreign, I’ve had to adapt, and this change has made me think of another arena where business is sometimes perceived as the dark side: Poetry.
Yes, we poets would like to simply write our words and have them immediately recognized for their greatness and their beauty, but that’s not how it works. There is the sometimes-disgruntling submissions process, the signing of publishing contracts, the concern over rights and what constitutes “previously published,” and a million other little entanglements of the commercial or legal sort. Poets have to be business people, too. But so often we dread and disparage it.
Here’s a little secret: The business part can be as fun as the creative part. I know it doesn’t seem that way, but seriously, equal to the joy of a finished, polished poem is the hope felt when the “submit” button is pressed. Granted, sometimes that hope is dashed when rejection comes (and it does, more often than not), but the endorphins and dopamine produced while being an efficient, organized professional can rival those elicited by a really great line or stanza. The pleasures of logic and reason simply come from a different part of the brain than we creatives regularly use.
Moreover, when your “management” has paid off, it definitely makes the tedium worth it. Those hours spent on fellowship applications, the eye-wearying process of figuring out which works to submit to a particular contest, and the seemingly interminable wait for a magazine’s answer are all rewarded when the reply is a sweet-sounding yes.
When the answer is no, though, it can make you wonder why you bothered at all. I’ve been there: “Why did I wait six months for a reply from Magazine X (who won’t accept simultaneous submissions) when I could have sent these same poems to Magazine Y, who certainly would have accepted them?” or “I can’t believe I went through all the trouble of filling out that ream of documents for an award I didn’t even get.” Yep, I know the feeling. Disheartening, to say the least.
But trust me when I say that the occasional affirmative reply outweighs the saddening (and more regular) negative ones. As I’ve mentioned before, poetry has taken me to places — literal, geographic locations — I never would have seen on my own. But none of those journeys would have occurred if I hadn’t mustered up the left-brained moxie to apply, submit, or propose. And doing those parts, however contrary to my nature, made possible both memories and poems, rich rewards of their own sort.
Don’t fear the paperwork. Don’t call it bureaucracy. No matter how much we disdain them, the processes and the logistics that lead to literary opportunities are necessary, and the sooner we get friendly with them, the more successful we will become. Why not start today?