Hello, and welcome to part B of the Full House podcast for this week. So, for this episode, we're going to be speaking to Jeffrey, from monologging. And he's gonna be telling us all about himself and monologuing. And we're just gonna be having a chat about collaboration, the benefits, the struggles. So it's gonna be really interesting chat, and then we're going to round off with our tweet of the week and a few quick news blasts. Okay, so our next guest is Jeffrey from monologging, here to tell us a little bit more about what they do, and a bit about himself. So hi, Jeffrey, how are you?
Hi, there. Good to be here.
Yeah, it's great to have you on. And to start off, do you want to just you know, introduce yourself, you're writing, your practices, your craft, and let us know a little bit more about you?
Sure. So I am an author. I'm a publisher, I'm a recruiter for the arts, as well as for attorneys. I've kind of got my hands in a lot of different things at this point, but big thing on the horizons, I'm running for local office here, just to be the alderperson of my ward in upstate New York, Ithaca New York. But I think the writing is the thing that unites all of my interests. And monologuing is the publication that I've developed as a way to be in touch with other writers be in touch with other artists. It's a collaborative magazine, that's all about connecting up writers and artists around the world on a global scale, as well as locally to get them to collaborate on multimedia projects, and really invest a lot of interest in, in just exploring individuals, their writing or their artistic process, exposing that and bring value to it.
Yeah, and what are some of the themes would you say, present in your work?
In my personal work?
Right now I'm writing a trilogy, about a guy who can tell the future. And I'm almost finished with the second book of it. But the deal is the guy can tell the future, he's pursued by different intelligence agencies that are seeking perfect intelligence on world crises, specifically the Arab Spring. And he makes a sort of a bargain with them that he'll go to Israel where I've spent a lot of time, and so it's familiar to me. But he'll provide frontline intelligence on the Arab Spring. And over the course of the trilogy, he's really becoming revered as a modern day prophet and issuing new testament that that shall become sort of the basis for new faith. And so I guess for themes for me, the book really began as a question of what is freewill? And and how can you have freewill if you could tell the future to how does that compromised? So all of the relationships and all of the encounters that the main character has that this trilogy is, you know, constantly probing that question? Well, if he enters into this dialogue, will he have free will? Will there be an opportunity to show free will and and decide who he is? And who individuals are? In this constraint?
Awesome, really interesting topics. That sounds great.
Yeah, I totally be interested in reading that series. That sounds fantastic. So Jeffrey, for you, do you have any sort of certain inspirations? Or, you know, elements that lead you into your craft and enable it really?
Yeah, I mean, for me, it's really the linguistics of writing. I love you know, just the sounds and art of putting words together and making them fun to say, making them hard to say a sentence, I love to have a jam sentence that really packs a lot of sounds into it. So, you know, the I think the inspirations have been to, during this process of writing this book has just been to read very widely, a whole lot of perspectives, a lot of the classics. I've read the Bible from beginning to end. A widespread sampling of just the variations on our tongue, that make English as a unique language. And I think that that adds an element of the storytelling that I'm particularly interested in, especially in the second book. Of course, there's a place and an importance to plot and moving the storyline along as well. So, you know, try to keep it a thrillers, pacing, but with something extra, you know, linguistic element as well.
Yeah. I mean, has it been tricky writing this trilogy in a you know through the pandemic? Has that in any way affected your writing?
Well, I would tell you that having kids has . And kids in a pandemic, like wise. But yeah, I mean, it's, I miss the days when I could, you know, say, hey, today is Tuesday. I'm going to spend a whole day writing. That hasn't happened in my life for, you know, close to a decade now. Between work and kids, and you know, just being out of out of school, but so I work mostly in the evenings, and I work late hours, you know, so I'll start writing around like eight. And that can work until one in the morning, somedays on the book, and then I edit more in the mornings when I'm, when I've got fresh eyes on it. And there's, you know, there's always a big difference between how fast I can produce content, whether it's morning work, or evening work, but I enjoy it all the same. And, you know, and at the end of the day, always what you admire in a piece of artwork or piece of writing is, is the sacrifice that the the creator made, in terms of time, you know, the feeling that it was irresistible, that they had to go and, and produce something to get the thoughts off their chest. And so I think, you know, whether you do it with the midnight oil, or whether you do it with a cup of coffee, it's you know, it's it's important reflection of self to go and find that time.
Yeah, I can totally see that. But Jeffrey, if you had to describe your writing in three words, what do you think they would be?
Three words, to describe my writing, very good monologging questions. Boil it down. Three words to describe my writing. Connective. I like to connect a lot of events. Second word, let's see. Musical, I try to make everything have a rhythm all its own. And it's encyclopedic, really, I tie a lot of world events. And and there's a lot of references, especially in this book, you know, just to, to kind of ground it in the history of the different regions that it explores.
Yes, some great words there. And now talking a little bit more on monologuing. Tell us a bit more about, you know you do, a bit more about your collaborative projects. And you know, how long have you been running monologging for?
Sure. So we started up. And initially, it was really just a flyby blog site. I was back in 2011, I was in grad school at the University of Baltimore, finishing up a MFA program there. And one of the required courses was to do electronic publishing. So I didn't really know I was getting into, but what I discovered was that it's extraordinarily easy to start a literary magazine, you know, with a single page website, just a little bit of WordPress knowledge and some HTML experience. And so I started, I came up with this idea of monologging, wanting to create something that would be in a sort of a modern day business card to connect with other writers and artists and, and just kind of offered a shared space for us to create together and to do so. And, you know, we're really not about I was never about ownership of the platform, it was always about bringing other people in and, and sharing the space. And so, you know, I recruited a couple of writers, initially, I did a lot on Craigslist, I got kind of sketchy with it. I hosted like a writing contest, a couple writing contests, and that draw drew people in, and then I would network with the people who submitted afterwards, and just hey, you know, we can build this better we can extend here, would you like to do book reviews on a regular basis, that kind of thing. And we were just publishing on a rolling basis for for many years. And then I went to an awp conference with my, with my agent, who's since become really an assistant editor and equal partner in the project. Her name is Natalie Kimber. And, and we realized that what we should be doing is publishing once or twice a year, a lot of content, really thoughtful content, and taking the time within that that year, to really work with the writers that we bring into our circle. And as well as the artists and give everybody in that sense, a lot more space to be experimental, to be, you know, inspiration to each other, and, and ultimately to delve into something that interests them and write a really, really, I think, significant piece for themselves, that that can be shared in this medium. And so we've done that now, since 2017 2018 2019. We just brought out our 2020. Or what are we up to hold? I'm going to count it 123 Yeah, it's our fourth issue, which kind of shocks me now to think about it. We just brought out our fourth issue in this format. And, you know, I have a feeling that it's growing that we've achieved something a style that's unique, that distinguishes us from other other literary magazines, and and I think will continue to grow. And I look forward to that.
Yeah, I mean, in 11 years, you guys have grown obviously, so much and you're a really established collaborative site now which is fantastic to see. I know I particularly enjoy your allied editor series. I think that's a really cool way to engage with the community. And so Jeffrey for you, what have been some of you know the highs? And I guess even the lows of the experience of you know, editing? And, you know, what have you maybe learned from the experience or gained from that?
Yeah. So I think the highs of the experience are always when you look through an issue and and realize how much work has gone into it, you know, collaboratively that everybody raises the boat together, kind of. And more and more, we're seeing that the writers who participate, they're, they're not just promoting their piece on the site, they're promoting the whole thing in tandem. And in the spirit of monologging, they really feel connected to the other writers who have produced content. So for me, that's the the most fulfilling moment in the whole process, I think, is seeing that that come to light. There's also in terms of publicity, you know, that's something that I want to work on and continue to fine tune. But in terms of the actual work itself, I think, you know, where we've pushed, the boundaries of multimedia are definitely what excites me the most, you mentioned, the allied editors piece. And I thought that was a really cool way, what it is, basically is a series of monologues that were produced by editors that contacted other publications, asking them to reflect on their experiences publishing amid the pandemic year and sort of a year of crisis last year. And so it was really exciting way, I think, for different editors to get reflective in a short bit of and introduce a soundbite that, you know, really embraces the work of people that they have published, you know, what attracted them to that work, what, what, what inspired them in that work. And so I think, you know, as a way to, to bring even more people into the project of monologging very effectively and seamlessly. And, what we do is we sort of thread the content throughout the contents in, in monologging. So that a series like allied editors can repeat we also did a series called margin poem in this most recent issue, where a poet contributed a series of poems, and we just pushed into the side of the screen so that you would really just read down and but the series repeats and so it creates kind of like a concept album, I think, as you as you explore the the whole of the content, which makes it a much more curated space ultimately than I think a lot of other publications will have where it's, you know, your fiction section, you got your, your poetry section, but here, it's we're looking to create multiple access points, multiple entry points. And, but ultimately, you know, the best experiences if you read it through from from top to bottom, the process of bringing these folks together is is is really the highlight for me.
Yeah, and have you know, worked with any writers or editors that have really, you know, stood out to you as really enjoying working with them and had a really like, really cool, positive, exciting experience with them.
Yeah. So you know, some pieces that just in the most recent issue that I really enjoyed working with, with the with the writers, I always have fun working with Neelab Mahmood, she's a fabulous writer out of Baltimore that I met when I used to live down there. She was on a journey this this summer with her daughter, and I asked her, you know, can we rewrite sort of a snapshot memoir piece that expresses this in flash, and, you know, within two, three days, we'd had a back and forth and she had produced an excellent piece that's, you know, it's titled too soon to know, absolutely worth reading. Another piece I enjoyed working with was a guy named Daniel Gleason. He's out of Tennessee, where he's a professor there, but he started a thing on Twitter called, it's Emily. It's basically all of the poetry of Emily Dickinson. And as you and everyday he posts more poems by Emily Dickinson, and throughout the course of the year, you've read all of Emily Dickinson if you follow this account.
And so we had a couple great conversations, just, you know, thinking about the educational possibilities and something like this, you know, this could be the new course, in the age of online learning on Emily Dickinson is, you know, follow this one Twitter handle and just embrace it and explore it and try to learn from the writing style. You know, it was really it led to great just expansive conversations as we collaborated to have him write his essay where where this project came from. The entangled poet series was another product of just great Twitter conversations, ended up being like a 4 part four person interview series, where I just asked a bunch of questions in this group of collab already collaborating poets, you know, how they impact each others style. It was fun to design because I am the website because I created all the responses to the questions as sort of pop up ads. You know, so it was very interactive. I always enjoy doing interactive content. And yeah, and another memoir I enjoyed, enjoyed being part of the whole the process was with Michelle Robertson, she did a piece called sidesteps also sort of flash memoir that she wrote this year. And then, you know, the other person I just absolutely absolutely enjoy collaborating with is my agent, Nat Kimber, who, you know, she brings her own content to the magazine every year and and, you know, does the same process that I do. Basically, she brought a one act play by a man named JB Alexander. She also works with a fabulous Russian poet named Anton Yakovlev produced a whole interview about poetry in translation. So we're, you know, we're kind of going in divergent ways. And we're bringing it all back to the center meeting there. And, you know, and really making it a vibrant, vibrant forum for for communication, and collaboration, and, and, and just experimentation as well.
I mean, it's just fantastic to listen to and hear the amazing work in collaboration that, you know, happens at monologging. And I suppose a question I have for you is, I mean, I know, I'd be super inspired, you know, seeing this amazing, innovative, creative process happening between people. And I mean, for you, what is that, like, you know, does it excite you inspire you? How does it affect you?
For me, it's, it's just incredibly fulfilling, it's, you know, and especially to see it start to take on so much more shape in the last few years, you know, a steady shape. I don't want to say it's getting formulaic, but I think we've hit upon certain formulas that work, you know, for, I mean, that, I'm often the sort to just get ahead of myself, especially when I'm on a creative tangent, and, you know, and overwhelm people. So I think there's a lot to be learned in the failures too and when you lose a writer or, you know, recognize that you're asking too much of somebody, and the project that you envision is just is never going to materialize you because you didn't bring enough patience to it, or whatnot. But I think the fact that we're getting more and more submissions, the quality of submissions is getting better and better, you know, as as affirmation that we've hit upon a process that works to, to, to produce the collaborative content. And, and, you know, I think the more that we implement that process, the things that we know, will work, the more people we're going to recruit and, and who will have a positive experience working with us.
And one thing we saw on your website is that you want to 'establish a borderless realm' for artistic, you know, projects. And I just thought that was really interesting. And I know I'd love to hear a bit more from you about, you know, what this looks like for you, and what the vision is for monologging in that sense.
So as I was, you know, developing monologging, in the early years, I was also publishing my first books. And, and so, and a big part of my program was, you know, learning how to design a full novel or collection, short stories, novel for print publication. And so it was important to me to work with, I worked with an amazing artist, who I should have mentioned previously, because we continue to collaborate over the years, Diana Muller, she's out in, she's an Irish artist that I met when I was traveling back in undergrad. And we kept in touch, and she illustrated both my novel and my collection of short stories. And, you know, so if you consider what that was in the context of a book, you know, to be flipping through and recognize that the illustrations were an artists coming from outside the project, in and of myself that I had created my creation, reading my words, and being inspired to draw some pictures to correspond with it and, and also that we talked a lot about the placement of those pictures within the the manuscripts. So that, you know, she wanted sometimes she would preview something another time, she would make the reader flashback to a little detail that had been mentioned pages previous. We, we created a, you know, a book, but ultimately had to talk about it to our audiences differently. She had to talk about the artwork that comes into this book, and I had to talk about the writing that went into this book. And we can both talk about the collaborative element of these books. And so, you know, you're talking about funneling people into something that has a very specific frames frame, like a book, you got the back back cover and the front cover, that's always going to be solid. But when you've got so much expansive space on the web, and you're making a website, right, and these links can suddenly be scattered all over on this Facebook post on this Instagram post, you know, this person is tweeting about something they mentioned in an essay, the realm, you know, it's just so much wider, and, and maybe there is ultimately a border to it. But I think it's really hard to find borders that are truly confining and on a online platform. And so the idea is let's, let's embrace let's recognize that we can funnel people into a good experience a good reading experience a good multimedia experience from diverse angles. And it's really a factor of how many people are we conversing with? And are we willing to merge our networks, so that this experience reverberates?
And so I wonder what for you, what would you say are, you know, the ultimate benefits of collaboration and of working together?
I think, well, I think, you know, I mean, the challenge of our times is, the biggest challenge of our times is just this quest for true value. And I think more and more people in the arts, people who are connoisseurs of the arts are unfulfilled by you know, just establishment media as it's produced, because it's so it raises the ego over the connectivity of a person, you know, once once you have a, if you were to write a best seller, it kind of, to a certain degree, it removes you from a lot of the conversations that you could be having. But if everybody participates in the selling of the of the best seller, which is our work collaboratively, I think everybody has something that they're much more proud of, ultimately, that they feel involved with. And, and, and that's why I elevate process so much as our focus in the magazine. I think if we share these processes of writing and collaborating and, and are very genuinely on a consistent basis, and kind of learn how to do that effectively with each other, we end up with much more meaningful conversations and much more meaningful fire.
Yeah, that definitely makes sense. I mean, thinking about collaboration, it's not necessarily an easy thing to do, right? Like, you've got to put a lot of time into it. Communication is tricky, like, it's, it really is, I mean, might sound simple on surface level, but to actually keep up with consistent, creatively beneficial, you know, creative content is quite tricky to do with somebody else, and keeping that same level of energy and effort going. So, Jeffrey, for you, what's been sort of that like, when you've worked with other people? Has that been tricky? Or, you know, what was the experience and the process really been like for you?
Well, yeah, I mean, I think and, you know, people can burn out in collaboration a lot faster than they can I think on, on a project that they're solely invested in. And so that's why I think you need, you need to be balanced, you can't be a full time collaborator and not do anything for yourself, you know, that's why I'm writing a novel on the side of doing this project. And, you know, and there's a time for monologging. And there's a time for, for my personal work. Yeah, I mean, I think that's just you just have to be mindful of your time always and, and recognize when you need to, when you're, when it's jamming you up, and it's time to take a step back.
Yeah, totally. I mean, I can really see how working with someone, and you know, pushing through some of those creative struggles would definitely get more, you know, overall satisfaction from the project. I mean, because it's not then just, you know, one person success or one person's creative project, it's, it's two, you know, so that feeling, I think, is doubled. And when it's shared, I think that's, that's really a lovely thing. And I can totally see the appeal of that.
Yeah, absolutely. And, and that's why I think the timeline that we published on just once, and we maybe are striving towards twice a year, but once a year, you know, to take the time and meet a couple other creatives and, and venture forth on a project of mutual importance, I think, you know, it's just a fulfilling experience to have.
Yeah, I guess, the only sort of thing I can think of that springs to mind as being like a negative with the process. And something that could be a real challenge to figure out is that, you know, we've all worked in those projects, where one person is definitely putting in more effort than the other person. And, you know, maybe someone's not, you know, hitting the deadlines they need to be hitting. So, Jeffrey for you, how do you sort of manage that? I mean, obviously, it's a real struggle and challenge that a lot can arise from working with someone else and working collaboratively. So has that ever been something really tricky for you to negotiate? Or, you know, how's it worked for monologuing?
Yeah, I mean, there's definitely, persistence is important. And I think that anybody who's worked with me, I hope, ultimately appreciates it. You know, you have to, it's like I said, you know, you have to connect all the dots, basically, and make sure that people remain in correspondence with each other. And recognize when you're losing somebody, you know, I try to always follow through but, but, but it happens, it just inevitably will happen on a venture like this. Because, you know, everybody's living wild lives and these are trying times and, you know, who knows what comes up but but you lose touch with people and or things get delayed and and you take it in stride, and that's why we cast a wide net, you know, so we're not overly dependent on anyone. And and yeah, you know, I just try to stay positive about it definitely, you know, lick my wounds when, when something falls through. But from my perspective, you know, my role in encouraging these collaborations. First of all, it's to let people know that I dig their work, I'm interested in your work, I'm curious, you know, would you be interested in doing something on this space we're publishing, you know, what I give them a, try to give them like six months warning, sometimes we're whipping pieces together a little bit faster than that. But you can think of monologging as you know, I'm a monologger here. And I'm checking in with other folks who I've been blogging with. And I did that on an annual basis. And so, you know, I want to know what you've been up to what is what turn twists and turns, has your art taken in the time since we last spoke? And can you take a turn into this forum and produce work with us. So the, you know, so that the process is sort of, hey, here's a space where you can publish, I love your work, I want to connect you with this artist, I think you guys will have a great conversation, if I can, you know, I try to make as many pairs as I can, in every issue, sometimes it's just we're getting, you know, either we're using a submission that's come in to the portal, or we're, we've asked somebody to write a specific essay, or some some piece of content that we've kind of pure, initiated. But, but yeah, and you know, and then it's just a matter of keeping tabs on people. But the best, best outcome for me is that I pair two people up, who want to create together, who enjoy getting to know each other a bit through the process and produce something that's really, you know, just amazing. And all it took was a couple of touches from me to be like, hey, how is work coming along, you know, do you need anything for me? Because I'm always just, you've got be a resource in that regard.
Yeah, and I suppose the last thing I wanted to touch on with you is that obviously, we are using the internet now, you guys use the internet to you know, host your site and to host your collaborative projects. And so, Jeffrey, how useful is the internet as being a tool for connectivity? Especially moving into. in the modern world and moving forwards towards the future? You know, what the benefits of, you know, communicating online and networking and finding people to share your work with online?
Sure. Well, I mean, I think the most vibrant space for writers and where I spend most of my spaces is on Twitter. I think it's a true writers platform, initially, especially when it had the harsher word limit when it's only 140 characters.
I mean, this was just begging for poetry from the internet, I thought, and really concise, really unique poetry, I think it's nice to have a lot more freedom with the 240 word limit now, but I do a little bit miss the emphasis put on, you know, really, really trimming your language, just the bare bones. I thought that was pretty extraordinary experience to have to have had and had had for so long. And so yeah, you know, what I do, there's a very, you know, just vibrant poetry community. And I write poetry sort of side by side as I write my prose work. So oftentimes, I just find myself, you know, playing with language, I really, I consider it, my account, like a open journal, I used to have a leather bound journal and I would travel around with but since we don't go anywhere, during the pandemic, before that. You know, it's just fun to experiment and write, like a catchy poem or two on Twitter, you know, watch that content proliferate, you know, realize who's awake, because I'm always writing late, you know, which also lends itself to the global aspect of, you know, that I can connect with international writers really, at any time of the day is, you know, it just depends what mood I'm in. And, and yeah, and, you know, in the work that, if a poem strikes me of interest, you know, like, retweet, and learn and more about the author, and if I think that there's a space for them on monologging, I'll reach out and, you know, and, and, and then the balls in their court, you know, the the bottom line mantra is, why not have a conversation? What do you have to lose? You know, I'm fairly confident I'm a nice guy, so it's I hope I'm not threatening, you know, and, and, yeah, you know, and that's, you never know what mood you're going to catch somebody and, you know, and when, when two folks are musing about content, there's an opportunity to create something new and something groundbreaking and really feed off each other's energy and momentum.
Hmm yeah, I mean, I suppose the pandemic right I feel like that has limited a lot of people's like creative ability. For some, it's totally ignited it and given them the time, to run with it, but for some people, it's definitely, it's been harder to be creative and to find the motivation. So has that affected monologging at all, has what has it been like, you know, in the pandemic versus before the pandemic? Have you had more interest? Has it been, you know, just a similar amount? I'd just be curious to know.
Well like I said, I think, you know, our 2020 issue was a huge triumph. From my perspective, you know, the work that we were able to bring together the way that people invested in it, I thought was a, we made a leap. And, and, you know, the, the method is catching on and, you know, and then like I said, I think it's a unique factor of monologging, that both Natalie and I will check back with writers we published before and be like, what are you working on now? You know, we're not going to wait for your submission, we're going to keep you feeling a part of this publication, that's kind of, you know, family maybe is too strong of a word. But it's, I think it's a, you know, a true network of loops, you know, running loops around each other, concentric circles, basically, to keep us all in tune with each other. So, yeah, so you know, that, like I said, we've got some formulas in place that help us bring quality content together easier at this point. I think, you know, there was a lot of folks, it was really pensive period, for sure, the darkest months of the pandemic over the summer and last spring. So people had a lot to say, it was pent up. And I think that bit of claustrophobia ultimately, is always good for, for, for, for creation, in general that, you know, if you don't, if you never pressure your environment, then you'll never be able to burst out of it, but with amazing work. So I think there was also, you know, and then there was time to do it, actually, to really invest in it, if you had nothing else going on, because you can't travel, you can't go out one night or whatever, you might invest a little bit more in a project like this and see its value. It'd be interesting to see as things open back up, and people are safe again, to go out just to see how if there's this moment of complete frenzy, you know, that actually leaves us more scattered than before, before, during the pandemic. But, but no, I think it was uplifting to be able to access something like this for the folks who participated. And, you know, and of course, we were collectively meditating on the meaning of this moment, not just that, but you know, here in the States, there was it was pretty dicey political atmosphere, for a minute, there a lot of pent up frustration and an anger and, you know, and, and I think that there's so much punch, punctuations in something like a pandemic, where there is going to be an aftertime, it's almost as if we've been through a war, you know, and, and we've got to think about how we're going to be constructive in society, you know, and reconstructive in the wake of this, and I think everybody was eager enough to, to drive into a conversation on that scale. And, of course, our title was metanoia. You know, it's just, you know, there's a great description of it that that Natalie wrote, you know, just talks about it as a complete 180 in how you're perceiving the world. And not just that 180. But this moment of volta, where you're actually lunging into the plans you've made to see that seize the change that you want to be and become, yeah. And so I think, I think we, we, we promised an issue on that, that order and delivered.
Yeah, I'd certainly agree with you there. And so to sort of wrap up, what are the hopes, the dreams, the goals, the aspirations of, you know, monologging going forwards? What does your future hopefully look like?
Yeah, so I think, you know, above all else, embedded in this, it's kind of a teaching model, sort of a new MFA kind of culture, you know, that really guarantees we are giving each other the, enough feedback to stimulate each other as we go back to our private projects. And so I'd like to see that embraced by more people, and, and kind of, you know, become a way of doing things in the arts that I think could distinguish the magazine to a large degree. Obviously, I want to continue on the trajectory that we're on, I think it would be exciting, if we can get to a point where we can publish twice a year that I know that would make Natalie very happy and and I think the writers in our circuit, just make it feel like it's more of an ongoing project a little bit more present, if we could achieve that. Obviously, would love to be able to pay all of our contributors at some point. I think that's you know, just an important milestone to always strive towards and and I think we're, we're nearing there as well. And, and yeah, I would like to get back into being able to, to publish print books, as an you know, as ancillary or print magazine even to the online experience, I think that that, you know, would be a really important milestone to us. The thing that I hope for that I think we started to get at with exactly that that allied editor series is I believe in a model of publishing, where you can have publishing become a joint venture. So say there's a great novel that needs, it's similar to the way that you know, a script would gain momentum in Hollywood, among directors and producers, and suddenly have a budget to be in production, I think we can start doing that among small presses, and offer books with a budget that rivals, you know, what, what penguin and some of the big publishers would put out, because we're all invested in it, you know, and bringing in really dedicated networks of readers who want to see this book come to fruition, and recognize that, you know, this one small press isn't going to be enough to get the kind of readership and the kind of clout that you wanted to have. So let's all share the risk on it, let's, let's jump in, and the more that we tie in with other publications, and you know, and mutually subsist together, but also promote together and embrace each other's content, in the processes that that monologging has set forth, in that that formula, I think there's an opportunity to remove the financial burden of publishing, as we know it, that the daunting aspects of it and start to seize on content for its value and, and, and really be able to get behind it in a new and more meaningful way.
I mean, yeah, that's certainly a very interesting model, and something that, you know, we can all be thinking about. So thank you so much, Jeffrey, for coming on and talking to us about monologging, yourself, and really the collaborative process. I think I've definitely learned a lot from that. And it's definitely evoked a lot of thoughts in me. So yeah, thank you so much for chatting to us.
Yeah, it's my pleasure. Thanks for having me.
And so that wraps up our chat with Jeffrey. But now let's move on to tweet of the week. So this week's news for the week comes from Kimberly. And it's 'What is a poem? Wrong answers only.' And I absolutely love things like this. I think it's so funny seeing what people you know, come up with to say, you know, the answers to these questions, and it's a really funny sort of creative, inventive way, I think of saying you know, what poetry is and what poetry isn't, and I just love it. So we're going to read out some of the cool responses to their some of our favorites. So JP seabright has said, 'a bit of fluff found down the back of the sofa.' Which was a really good one. I think that one we have, I think it's pronounced Neha, who said 'a grocery list for the soul' And I really loved that answer to that. Oh, I really like this one from I don't know how you pronounce it. I think it's good. Godfrey. And it says, a machine, 'a small machine made of plums', which I thought was hilarious. And somebody else actually mentioned plums as well. So there has to be a theme between poetry and plums, which is interesting. Gretel has said 'unbrushed hair', which is definitely interesting. Samantha has said 'a stew recipe that uses whatever you've got left in the fridge' which I thought was hilarious. We have Peach, who says 'a hurricane box full of canned goods, but no labels.' And there's so many interesting responses to this question that are really funny and really make you look at you know what poetry isn't, isn't in some really interesting ways. So I had an absolute blast reading that Friday, and I definitely recommend it. So thanks, Kimberly, for putting it out there. And then let's just round off with a news blast. So we've got lots of little bits and bobs. So starting off bad betty press, they have a submissions call looking for poems for their new Anthology, the book of bad betty's. So definitely check that out supported by Ace and the deadline for this is the 30th of April so go over there and check that opportunity out. Dr. Tawnya Selene Renelle is running a course on the April the 19th. So that's really cool. It's going to be amazing to do check that one out. Guillemot press has second memory out now, which is a collaborative poetry essay pamphlet that traces and entwines ancestral histories. So please do check that out. It looks fantastic. Season Two of legitimate snack from broken sleep books is shaping up to be fantastic. The lineup so far includes Stuart, Rishi, Maria, Mary, Collin. So there's gonna be more to come there. And the lineup so far is amazing. So stay tuned for that. Twin pies have an open recall at the moment. So do check that one out. Submissions are open for Sonder magazine. The theme of this issue is indulge, so that sounds exciting head over there. Some of you may know some of you may not by April. There is a writing challenge escapril, which is really cool. There's different prompts every day. And Babel Tower Notice Board are actually doing their own series of really cool prompts in response to something like this. So they're running some really cool thing is go and check them out and see what they have to offer. And just to clarify on that, one, the handle for that, and the hashtag is Babalnapowrimo. So, if you type in that Friday, you'll find some really cool, you know, responses in response to that hashtag so far. So definitely engage with that some cool stuff going on there. Tickets are still available for on the 26th of May at cheltenham poetry festival online literary lounge. And that's, you know, set to be brilliant. So please do go check that out. If you've got the time. It's a free event. So go and get your tickets, why not? Voting is open for the sabotage, reviews and the sabotage awards rather so you can nominate things for you know, best publication, best anthology, best speaker, so that's really interesting. If you know anyone that you think deserves that, go and vote for them. Censorship magazine are open for submissions. On the 16th of April Babel Tower Notice Board are doing a late night session. This is a free event and it features EP Jenkins, Serge, and CaConrad. If you head over to the luminaries twitter, they are running a cut and slash workshop. So if you can't find a poem, or if you have a poem and can't find a publisher, they're suggesting this is the workshop for you. It's a free event and it will be on April the 10th. And lastly, my woven poetry they are open for submissions. So go over and check them out. And so that is all from us this week at Full House. We hope you've enjoyed listening to Part A and Part B and we'll see you soon for another one. Have a lovely rest of your day. Bye bye