Cynthia Gallaher–Interview

After years of writing at the kitchen table, at the library or sitting up in bed, I finally landed my own creative space. The kids were grown and my husband suggested a five foot-five-inch by 10 -foot enclosed back porch (heated) on the second floor of our home. Previously, it served as a closet and catchall for an odd assortment racks and boxes.

Cynthia Gallaher WayBackOffice

With a little paint, some new curtains, a desk and a desk lamp, my “Way Back” room has become my writing haven. Having a dedicated space to do my writing has made a bigger difference in my creative productivity than I even imagined.

I’ll only write by hand if I’m away from my desk. I use a lined journal with a quilted cover specially made by my sister Sharon. When the journal is full, I slip off the cover and replace it with another lined spiral-bound journal.  The spiral-bound format lets me pull out pages if I want to without ruining the whole journal. Pen of choice is the Pilot G-2 fine or medium point with blue ink. If I am home, or bring my laptop to a writer’s retreat, for example, I consistently write directly into a Word document.

Cynthia Gallaher SharonsJournal

I can write in the morning, the afternoon or the evening. I don’t work late into the night, but am known to get up before sunrise. It doesn’t really matter what time it is. What counts are all the other things I may have planned for a particular day or evening. It’s great to get a whole day cleared away to dedicate to my writing, but I inevitably find I can write for about four hours straight and that’s it. Then I need to do something else.

How long have I been writing? Yikes. Let’s just say I’ve been writing for decades—poetry, advertising copy, radio and TV commercials, plays, nonfiction, short fiction, business articles. I started writing poetry in high school around age 16 or so, but didn’t start doing anything with it or getting serious about writing until after college, a place where I did not major in English.

I slowly became part of the Chicago poetry scene and met like-minded poets at the open mic readings around town. We helped and encouraged one another. We still do. I’ve made many friendships with fellow writers that have lasted a lifetime. I don’t think I’d still be writing today if I hadn’t been encouraged early on.  Writing can be a lonely path, so we need others to make the writer’s life more rich and human.

It’s a proven fact that the biggest audience for poetry is other poets. So maybe I write poetry for other poets, or that fine breed of people who may not write poetry but avidly read it. I think the two plays I’m working on now will appeal to women of various ages, since they have strong women characters.

For me, the best part of the creative process is the process itself. The writing and rewriting, the excitement and adrenaline I get in the midst of a writing project I really love, the way a piece may evolve into something better than I expected when I first started. Not knowing how or where a piece of writing will take me and then being surprised where it does makes the effort of writing worthwhile.

I do enjoy pursuits beyond writing.  I’ve taken yoga classes for years. My recent poem in The Magnolia Review titled “Yoga Teacher Stokes the Sauna,” was based on an experience that took place soon before I decided to become a certified yoga teacher myself. I’ve been teaching yoga part-time now for nearly three years. The mindfulness of yoga is similar to the mindset needed when you sit down to write. I also make beaded mala necklaces and other beaded jewelry, dabble in drawing and painting, and tend an urban organic vegetable garden in my backyard.

Cynthia Gallaher FrugalPoetsPaperback

My advice to writers (and I go over this and more in my recent nonfiction memoir/reference/guide Frugal Poets’ Guide to Life: How to Live a Poetic Life, Even If You Aren’t a Poet) includes what a more established writer told me when I was first started out—and that is—Don’t Give Up. The world is full of quitters, she said.  If you keep writing and don’t quit, you will be successful, she added. She was right. I never quit (though I have stalled out occasionally over the years) and I now consider myself a success as a writer. I may not be rich or on the bestseller list, but I am proud of my writing and know that others enjoy my work, too.

Check out Cynthia’s work in Volume 4, Issue 1

Announcing The Magnolia Review Ink Award for Volume 4, Issue 1

Thank you, Suzanna, for this wonderful opportunity. Each issue of The Magnolia Review is a beautiful selection of prose, poetry and art, and so I knew from the beginning that choosing one piece for the Ink Award would be difficult. Generally, my favorite works of literature and art make me think about them at odd times in a day, send their words or visuals to my mind when I’m driving or walking my dog or trying to fall asleep. I would return to reread those pieces in Volume 4, Issue 1 that did just that, then I let them travel with me again throughout my day. Repeat. Repeat. Maybe it’s because my life as a military spouse is often about change (moving, trainings, deployments, friends leaving) and maybe because my daughter will start kindergarten in the fall, the pieces that stood out most to me were those about transitions and change. In the end, there were certain phrasings and images I couldn’t shake from my head: “[t]he long roads of us,” “[m]ade feast from the leftovers of fields,” “backtracked on roads now strangered.” I also love how this poem ends with the word “end” although it continues to raise questions and encourages the reader to continue asking questions. And so, I have selected “Journey” by Doug Bolling as the winner of The Magnolia Review Ink Award.

Lisa Stice is a poet/mother/military spouse, the author of a poetry collection Uniform (Aldrich Press, 2016), and a Pushcart Prize nominee. She volunteers as a mentor with the Veterans Writing Project, as an associate poetry editor with 1932 Quarterly, and as a contributor for The Military Spouse Book Review. She received a BA in English literature from Mesa State College (now Colorado Mesa University) and an MFA in creative writing and literary arts from the University of Alaska Anchorage. While it is difficult to say where home is, she currently lives in North Carolina with her husband, daughter and dog. You can learn more about her publications at https://lisastice.wordpress.com/.

Volume 4, Issue 1

Phoenix Rising 12 X 12 Clayboard jpeg

Volume 4 Issue 1 sample is available here as a PDF: TMR 4.1 Sample. To purchase a physical copy, click here.

Contributors: Charles Joseph Albert, Meredith Bailey, Susan P. Blevins, Doug Bolling, Adam Levon Brown, Sally Bunch, Antonia Clark, Mara Cohen, Ann Colcord, Tony Concannon, Sandy Coomer, Barbara Daniels, Maureen Daniels, Chris Dungey, Robert Ford, Cynthia Gallaher, D.G. Geis, Jessica Gigot, Ben Groner III, Mary Hanrahan, K.B. Holzman, Jamie Houghton, Mark Hudson, Steven Jakobi, Brian K. Kerley, Lauren Klocinski, Laurie Kolp, Paul Lamb, Sean J. Mahoney, Bridget Malley, Todd Mercer, Anthony J. Mohr, Wilda Morris, Leah Mueller, Don Noel, Toti O’Brien, Richard King Perkins II, Scarlett Peterson, Greg Rappleye, Ruben Rodriguez, John Rodzvilla, Valerie Ruberto, David Anthony Sam, Hilary Sideris, Roger Sippl, Steve Slavin, Spencer Smith, and Christopher Woods

Reviews: Magic for Unlucky Girls by A.A. Balaskovits, Twenty-One by D. Victoria BonAnno, Wet Radio and other poems by Goirick Brahmachari, Two Towns Over by Darren C. Demaree, The Gentle Art of Swedish Death Cleaning by Margareta Magnusson, and Chant of a Million Women by Shirani Rajapakse.

Winner of The Magnolia Review Ink Award: to be announced

Greg Rappleye

Greg Rappleye’s poetry has appeared in a variety of literary journals and magazines, including Poetry, The Southern Review, Shenandoah, and elsewhere. His second book of poems, A Path Between Houses (University of Wisconsin Press, 2000) won the Brittingham Prize. His third book, Figured Dark (University of Arkansas Press, 2007), was first runner-up for the Dorset Prize and was published in the Miller Williams Poetry Series.

Cotton House Fire, Volume 4, Issue 1

Ruben Rodriguez

Ruben Rodriguez is a master of all things thrift. He holds an MFA in fiction from California State University San Bernardino where he was the fiction editor of Ghost Town. He is the author of a chapbook of experimental prose, We Do What We Want (Orange Monkey Publishing, 2015). Today, he is the poetry editor of Blue Mesa Review. His poetry has been featured in Passages North, The Brooklyn Review, Superstition Review, Forklift Ohio, Potomac Review, and elsewhere. He currently resides in Albuquerque, where he teaches and studies at the University of New Mexico.

When Broken, Volume 4, Issue 1
Interview

Bill Trippe–Interview

Describe your creative space. Do you work at home, in public spaces, etc.?

I have a small office next to my attic. It’s a very old house and a very modest office, but I have a table to write and shelves for my books.

What kind of materials do you use? Do you write by hand or type? What is your favorite writing utensil?

I do almost everything on the computer. I maintain files of story ideas, then build from that. In writing workshops (including some I facilitate) I write in a few favorite notebooks, always in pen, as I hate the feel of pencil for some reason.

What is your routine for writing?

I work full-time, so I write in the early morning. I try to get an hour in each weekday then perhaps two hours on one of the weekend days. I have to use some of that time for submissions and correspondence, so it’s not all productive writing time.

How long have you been writing? When did you start writing?

I have been writing since college, which I started 40 years ago this month. I did a BA in English and an MA in Writing, but then raised a family. While I did quite a bit of professional writing over those years, including co-writing two technical books, I only returned to creative writing in earnest in November of 2014. I finished a novel and have written a number of short stories in that time.

Who is your intended, or ideal, audience? Who do you write for?

I imagine someone who, like me, loves short fiction especially. I read widely, but nothing is more satisfying to read than a well-crafted short story. I hope that my stories evoke that kind of response in my reader.

What inspires you to write? If you are blocked, what do you do?

I look for germs of stories all of the time, including in my reading, anecdotes I hear about, things in the news. The story here, “First Day,” was inspired in part by something that happened to a teacher I know but then I took the action of the story much further. If I am blocked, I read old newspapers and look for some interesting story or detail. The opportunities are endless.

What other things do you do besides writing? Do you dance or play golf, etc.?

I sing choral music and have begun to sing with an a capella group. It’s fun but it’s also a new intellectual challenge, honestly. It forces me to think in a way I rarely have.

What is your favorite part of the creative process?

I like thinking through the arc of the story—who the characters are and what is propelling the action of the story. When I find something that I think is real and compelling about them, I feel that I can move the story along. It’s very satisfying though sometimes it involves a lot of sitting and staring at the wall.

What is your advice to aspiring writers?

I think we all have rich experiences and ideas to tap into. When I teach writing, I encourage students to mine their experiences and to find the stories in them. As to the publishing process, prepare for things to take a long time and to get many rejections before you find places that will publish your work. If it helps to have a community of writers, seek one out. There are many venues.

 

Check out Bill’s work in the issue Volume 3, Issue 2 (Pushcart Nominee).

 

 

Christopher Woods

Christopher Woods is a writer, teacher, and photographer, who lives in Chappell Hill, Texas. He has published a novel, The Dream Patch, a prose collection, Under a Riverbed Sky, and a book of stage monologues for actors, Heart Speak. His work has appeared in The Southern Review, New England Review, New Orleans Review, Columbia, and Glimmer Train, among others. His photographs can be seen in his gallery: http://christopherwoods.zenfolio.com/.

The Fire That Night, Volume 4, Issue 1
Interview