The Story Behind Our Story



I’m a previously published non-fiction author, so why self-publish The Groovy Granny? Why, when there’s so little money in it, and such a small audience? Here’s why
.

by Heather Grace Stewart

Update: You can now preview and buy The Groovy Granny, first published in 2011, on Amazon! The young illustrator went on to illustrate the chapter dividers for my 2020 novel, Lauren from Last Night.

There are some things in life you don’t need to question. The times I haven’t hesitated in my life because my gut was telling me ‘yay!’ not ‘nay!’ —like marrying the man I love, deciding where to live and build a home, and deciding to start my own business in 1999—have all been fantastic successes, and have led to even more joy in my life.

Sometimes, you just know. After our daughter kept drawing illustration after illustration for my poems—of her own free will, because the poems inspired her to draw—I just knew that self-publishing this children’s book was the right path to take. It had already been a very, very long path with this project, but in early 2011, I felt a bend in the road that I knew was an important one to take.

The Groovy Granny is a project over 10-years in the making. I began writing the poems on my weekends in 1998 and 1999 while working as an editor at a children’s magazine, Wild! The children I met through my work and my young nieces inspired me with the silly things they said and did. But I was a busy associate editor at four sister-magazines at the time, so I only had time to send out the manuscript a couple times.

Surprisingly, it didn’t take long for that manuscript to get noticed. Bubble Mud and Other Poems was published as an ebook by Electric E-Book Publishing in 2000, and illustrated by an Australian graphic designer. I always call it a book ahead of its time. ‘What’s an ebook?” almost everyone asked. Most of my readers bought the PDF on a CD-rom, just so they’d have something tangible to show the kids before popping it in the CDrom drive. Remember, there were no e-readers at the time!

The book was nominated for an International E Book Award (EPPIE) but failed to get any other attentionÂŹ from the media or critics – partly because the small Canadian company went under. But I did receive numerous emails from children readers, telling me how much they’d loved reading my poems. ‘The Groovy Granny’ was the poem most readers mentioned as being a favourite. I grinned, and mentally filed that away.

After the birth of our daughter in 2005, I felt inspired to rework some of the poems—and to write many, many more. Then began the long task of searching through Writers Market and Poet’s Market and Children’s Writer’s Market for the right publisher.

I’ve spent the last five years looking for a publisher. The book has gone through many revisions, and there have been both cuts and additions. There are several more poems in the original manuscript, like ‘Lunch with a Llama,’ that I didn’t publish in The Groovy Granny, because I soon discovered a kids’ book that long would have been too expensive to illustrate and print in colour. I’ve sent it out to agents here and in the U.S. and publishers both big and small, in Canada, the U.S., and the UK.

As a traditionally-published kids’ book author (I had two non-fiction books about our PM’s published with Jackfruit Press in 2006 and 2008), I thought I’d have a slightly higher chance at finding a traditional publisher. Most of the time, at least, I got personalized letters back, with handwriting, and everything! Many, in their rejection letters, wrote me that it was a ‘high quality’ manuscript and they ‘wished they didn’t have to turn it away,’ but this book ‘did not suit their list at this time.’ A few said they’d held onto it longer than usual in hopes of being able to publish it, but in the end, couldn’t afford to print a full-colour book of poems.

I soon realized lesson 101 in business: it all comes down to money. I reached one agent on the phone after she’d carefully looked over my work, and said she was only looking to represent illustrators at that time, but “wished she could represent me,” adding, “It’s so good, you can sell this book to publishers yourself!”

That’s when I finally stopped questioning the quality of my work—so I’m grateful for that stage of my journey. I decided to forget about the agent for a while, and started looking for a richer publisher. However, when I did that, it proved even harder to get anyone’s attention.

For example, Scholastic took a year with my letter to them. A year. To answer just a query letter. I did call to follow up, but never got any phone calls back. When they finally wrote back, they said ‘we have returned your material to you.’ One problem: I hadn’t sent them material. I had only sent them a query asking if I could.

I threw darts at that letter.

I’m kidding. I circled parts and pinned it up on my wall beside my desk to remind me I’m often dealing with ridiculousness, and I can’t take life—or rejections—too seriously. Life’s too short for that.

When my daughter came to me with her first drawing for the book (it was a girl hanging from a clothesline by her feet, and it cracked me up) I decided I wanted to be in control of this project. I wanted to choose the cover, to set the royalties (much higher for me without a traditional publisher), and above all, I wanted Kayla to be the illustrator (something that likely wouldn’t happen with a big traditional publisher—at least that’s what the CEO’s of a couple publishing firms told me).

So, now I have my own publishing company, Graceful Publications. with a publisher prefix number and my own block of ISBN numbers waiting to be placed on The Groovy Granny, and perhaps even my next poetry collection for adults (2012).

Making and selling books won’t pay off our mortgage—but I’m not doing it for that reason. I’ll continue to sell my magazine articles and poems to textbook companies, and to read my poems at schools and libraries for a living. But I’m fascinated by both online and print publishing and social media, and constantly think about how social media and new technologies are affecting how we read and share books. I like being a part of this rapidly changing field. There’s always something new to learn, and to me, that’s exciting.

You can now preview and buy The Groovy Granny on Amazon!

First night reading our book, photo by Bill Stewart.

Poet Claudia SchĂśnfeld

Sakura

you feed me
on raw fish
when our world’s
upside down,
chaos around,
people drown, small
as bugs in the
sink
while forces of
nature
grow tall and
blossoming cherries bleed,
spilling red, white –
hopes like vomit on
shaking ropes,
will they hold?
sing, sing sakura ‘cos
spring
is just ‘round
the corner
miwatasu kagiri – as far as i can see
destruction
kasumi ka kuma ka – like fog, like clouds
descending, tears
blind my eyes,
close to the coast
the giants crack loose
and still
nioi zo izuru – the scent, the colors
of strength in the air
raining rosy,
holding my fear
izaya izaya – let’s go,
let – go,
bow low and pray
for the melting to stop and
you feed me on
sushi
‘til I’m silent, ‘til
I know, hana zakari – blossoming time
is close
__________________
Visit Claudia SchĂśnfeld’s blog at http://splittergewitter.blogspot.com/
Sakura: the japanese cherry blossom is one of the most important symbols in japanese culture. It’s an omen of good fortune, new beginnings, beauty and also a metaphor for the fleeting nature of life.

Thanks for reading Poets for Tsunami Relief.

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Poets for Tsunami Relief: Poet Shiv

Sunrise After 8.9

Yes
there was
a gory dark time
of the eclipse
of 8.9
But far
on a rosy horizon
to have darkness undone
sits another baby
sun
I feel
it somewhat low
but I still feel it
with glow
This is
the sun that
will bring close those
who in current life are cast
and memories of those
who were amongst us
in the near
past
This is
the sun that will
shine upon what’s in disdain
and upon what cannot be
put together
again
Now
its rays
reflect the
pain (that trembling thrust)
of my dear brothers and sisters
and warmly touch me
as a reminder
of oneness
of us
My soul
feels the warmth
in their acceptance
of the power of nature’s will
and feels the pain in
their surrendered smiles
I feel
them somewhat near;
and ever more
dear
far out
on a rosy horizon
to have grave darkness undone
I feel surely sits
baby sun
will again
from its cradle
in the east shine the sun
just like ages ago
its luster had
begun
Hail the sun
for rising again!
Hail the sun
for shining again!
I feel
it somewhat low
but I really feel
it glow 

My feelings world will grow
as per the master plan
the sun that now lies low
will again rise from Japan
_________________________________
Shiv is poet and musician based in California. http://shivpoetry.blogspot.com and twitter: @shivpreetsingh
____________

Thanks for reading Poets for Tsunami Relief.
Please consider a donation to The Red Cross.

 

In Canada, go to: http://www.redcross.ca/article.asp?id=000043&tid=016

In the UK, go to: http://www.redcross.org.uk/Donate-Now

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Poet Colleen Hannah

LIVING LIFE IN A SUBDUCTION ZONE

Forced down and shifting sideways
Living life in a subduction zone
The mantle’s quaking dust has flown
The clock stopped counting time is done

Living life in a subduction zone
And it’s heave ho and away we go
Clock stopped counting time is done
I wait in line for cracks to form

And it’s heave ho and away we go
The love wave starts its surface hum
I wait in line for cracks to form
Dig my fissure root within

The love wave starts its surface hum
It is all or nothing stick the pin
Dig my fissure—root within
Clinging deep the earth gives in

Forced down and shifting sideways
Living life in a subduction zone
And it’s heave ho and away we go
The love wave starts its surface hum…

Colleen Hannah, @1RoguePoet http://www.vancouverislandpsychosis.wordpress.com lives on Vancouver Island, right next door to the Cascadia Subduction Zone. She wrote me, “Knowing an earthquake like Japan’s could happen here as well, I wrote my poem keeping in mind how fragile we are not only in body but in love and life as well, I hope it will help in some small way.”

She adds, “This is a pantoum with parataxis ending in invented form. The invented form consists of changing traditional ending to using first lines of the first 4 stanzas, in a five stanza pantoum, as the last 4 lines of last stanza.” Here’s her traditional ending to the poem:

TRADITIONAL ENDING

It is all or nothing time to win
The mantle’s quaking dust has flown
Clinging deep the earth gives in
Forced down and shifting sideways

___________________________________

JAPAN

There is a day when waking
we shed our swings of innocence
picking up the tools
of promise
we work to change the world.

________________________________________

Thanks for reading Poets for Tsunami Relief.

Please consider a donation to The Red Cross.

In Canada, go to: http://www.redcross.ca/article.asp?id=000043&tid=016

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Poet Rachel Bentham

Quaking. (New Zealand.)

The glasses clinked on their shelves,
a sign we recognised. Unperturbed,
I moved to the kitchen doorway –
doorways were supposed safer,
the frying pan still in my hand.

The floor shook as scales shake
when you weigh yourself, an
insecurity underfoot. But it didn’t
stop. The shake became a roll,
a house beginning to canter.

My father at the head of the
dining table, rose slowly to
his feet. I saw his hands grip
the table edge. ‘In a minute
I’m going to be frightened.’

And I knew he already was,
from the colour of his knuckles.


Rachel Bentham is an award-winning internationally published poet and novelist from Bristol, England. She lives there with her four children, and is “rarely bored.”

____________________________

___________________
Thanks for reading Poets for Tsunami Relief.

Please consider a donation to The Red Cross.

In Canada, go to: http://www.redcross.ca/article.asp?id=000043&tid=016

In the UK, go to: http://www.redcross.org.uk/Donate-Now

In both Canada and the US, click on the red buttons I’ve added on my sidebar

(red buttons are on the home page http://atomic-temporary-2589064.wpcomstaging.com), top right.