Tag Archives: Mark Neely

Prof. Scalzo Publishes Book (And other March Good News)!

We’ve got a lot of good news this month, so we’re dividing it into faculty and student/alum accomplishments. Check out all the amazing things your friends and colleagues have done!

Faculty Good News

Prof. Emily Scalzo’s new book The Politics of Division was published on Mar. 27!

The Indiana Writing Project was awarded a $15,000 grant titled “2017-2018 SEED Invitational Leadership Institute to Invest in Developing New Teacher Leaders.” The money from this grant will be used to support summer programming for teachers.

The Indiana Writing Project was also thrilled to send two local teachers to Washington D.C. in March for the National Writing Project’s Spring Meeting. In their time in D.C., teachers Jeri Tarvin and Katrina Gibson met with legislators to increase awareness about the work of NWP/IWP. They shared student writing and examples of professional development happening at our site.

Prof. Carolyn MacKay was awarded an NSF/NEH Documenting Endangered Languages Fellowship for her project:  A Grammar of Pisaflores Tepehua, an endangered language of Mexico.  It is a one year fellowship.

Prof. Susanna Benko and her colleagues Emily Hodge and Serena Salloum have had their work featured in Ed Week on the blog, “Curriculum Matters.”  The blog post highlights major findings from their study that was published in AERA Open.

Prof. Mark Neely has poems out or forthcoming in spring issues of FIELD, Passages North, Birmingham Poetry Review, Southern Indiana Review, and Timber: a Journal of New Writing.

Prof. Mary Lou Vercellotti published “The Development of Complexity, Accuracy, and Fluency in Second Language Performance: A Longitudinal Study” in the most recent issue of Applied Linguistics (the flagship journal of her field). It is listed in the top 5 most read articles of the journal. (Also, she will be dancing later this month in the Big Brothers Big Sisters Dance for Kid’s Sake event, so come out and support her!)

Prof. Emily Rutter’s article “‘Straighten Up and Fly Right’: A Contrafactual Reading of Percival Everett’s Suder and Bernard Malamud’s The Natural” was published in the recent issue of Aethlon, the journal of the Sports Literature Association. Her monograph Invisible Ball of Dreams: Literary Representations of Baseball behind the Color Line is also now under contract with University Press of Mississippi.

Prof. Frank Felsenstein spoke at the annual day conference of the Harry Friedman Society at the Jewish Museum, New York, where the title of his talk was “From Shylock to Fagin: Jewish Caricatures in English Prints.” He also lectured on “What Middletown Read: Rediscovering Late Nineteenth-Century American Reading Habits” at Ball State University.

Prof. Cathy Day was just featured on the CitizenLit podcast, which is produced by Aubrie Cox, who got her MA with #bsuenglish in 2013.

Prof. Jennifer Grouling was awarded as a finalist for the Outstanding Graduate Faculty Mentor Award.

Prof. Megumi Hamada’s paper “L2 Word Recognition: Influence of L1 Orthography on Multi-syllabic Word Recognition,” was accepted to the Journal of Psycholinguistics Research.

Prof. Rani Deighe Crowe’s short film script Heather Has Four Moms is an Official Selection for the Austin Comedy Short Film Festival Spring 2017. She is also directing the short film Welfare Check by screenwriting faculty Kathryn Gardiner this April. The film will star Muncie native and Ball State alumna Cynda Williams and Golden Glove Champion William Lee. The cast includes additional members of the Muncie community, and the crew includes many Ball State TCOM students.

Students and Alumni Good News

Daniel Brount (2016 graduate) was just featured on the Dear English Major blog.

Student Amanda Byk is the new Content Manager at the Facing Project.

#bsuenglish grad Rachel Hartley-Smith published her essay “Dumb Blonde” in feminist journal So to Speak.

Rachael Heffner (2014 graduate) was recently featured in the Daily Mail. Currently she’s working at a marketing firm in Indianapolis, Dominion Dealer Solutions, as their Social Media and Reputation Specialist.

#bsuenglish grad Abby Higgs recently published the final installment of her series “My Life with Annie Lennox” on The Rumpus.

Brittany Means has been accepted in the Nonfiction program at the University of Iowa.

Elyse Lowery had three poems (“Blood and Diamonds,” “Crosshatch,” and “Five Cigars”) published in the 3288 Review this month.

#bsuenglish grad Robert Young had his piece “11 Useless Kitchen Appliances: Crock Pots” published in Midwestern Gothic.

Current #bsuenglish students Kathryn Hampshire and Nikole Darnell, as well as recent graduate Lauren Birkey, all received Academic Honors in Writing.

Hannah Partridge was offered a summer internship in acquisitions from Wiley Publishing.

15 English graduate students were recognized at a graduate student recognition ceremony. (Ceremony attendees pictured from left to right: Nuha Alsalem, Hayat Bedaiwi, Andrew Wurdeman, Matthias Raess, Mary Carter.)

The Inside Scoop on Ball State's Literary Magazine: The Broken Plate

We sat down with Professor Mark Neely, faculty supervisor of The Broken Plate, and Jackson Eflin, a former Broken Plate staff member who has also had his work published in the literary magazine. 

What is The neelyBroken Plate?

The Broken Plate is a literary magazine that publishes poetry, fiction, nonfiction, art, and photography (among other things) by writers and artists from around the world. Each issue is edited by an interdisciplinary group of Ball State undergraduate students and released at our annual In Print Festival of First Books.

You’ve been the editor of the magazine for several years now. How have things changed over time?

When I took over as faculty adviser for the magazine, it was a small operation run by a few student volunteers. They only published the work of Ball State students, mostly that of a small group of friends.

I wanted to make it a more valuable experience for both the editors and for the Ball State writing community, so I used our existing course in Literary Editing and Publishing as a way to professionalize the magazine, and to spread the word more effectively about our submissions process. Eventually, we opened up submissions to all writers, which increased our pool of pieces to choose from, and I think it makes for a more rewarding experience for students.

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Creative Types: "The Broken Plate," Ball State's national literary magazine, needs you!

Broken plate hybrid poster

  • The Broken Plate needs passionate, detail-oriented students to promote quality literature this fall. If you’re interested, you must e-mail Professor Silas Hansen (schansen@bsu.edu) before adding the class to your schedule.

  • Taking ENG 489 means getting a chance to work with your fellow classmates on a poetry, short story, or flash fiction team.

  • Over the course of the semester, you can review/edit submissions, organize the magazine, and even pick a photo for the cover.

  • By creating an issue of The Broken Plate, you’ll gain design, editing, and social media skills you can use in other immersive learning courses and which will strengthen your resumé.

  • You can get more information, and a free copy of this year’s issue, at In-Print X (2015) on March 17th and 18th!

Tyler Fields Interviews Mark Neely and Matt Mullins About Their Brand New Books

Earlier this year, English professors Mark Neely and Matt Mullins each released brand new books, Beasts of the Hill and Three Ways of the Saw, respectively. In honor of this wonderful achievement, we sat down with them to discuss various aspects of their new books as well as publishing, academia, and their writing inspirations. See the interview below.

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Low-Res, High Motivation: an interview with Jill Christman (Part One) By Cathy Day

Photo courtesy of Tim Berg

Jill Christman’s memoir, Darkroom: A Family Exposure, which won the AWP Award Series in Creative Nonfiction and was published by the University of Georgia Press in 2002, will be reissued in paperback this fall. Recent essays appearing in River Teeth and Harpur Palate have been honored by Pushcart nominations and her writing has been published in Barrelhouse, Brevity, Descant, Literary Mama, Mississippi Review, Wondertime, and many other journals, magazines, and anthologies. She teaches creative nonfiction in Ashland University’s low-residency MFA program and at Ball State University in Muncie where she lives with her husband, writer Mark Neely, and their two children.

Okay, the big question first: When is someone “ready” for graduate school in creative writing?

My stock answer is that would-be applicants should wait until they have a firm sense of the project they want to tackle; i.e., they should have a draft underway and be committed to completing and revising that manuscript to defend as a thesis at the end of the program.  “The thesis is not the book,” I always reassure my near-deadline MFA students (in the Ashland poetry and creative nonfiction low-res program) and MA students (in Ball State’s Creative Writing program)—but the thesis should certainly be a giant step in the direction of that first book.

That is really good advice. I wish I’d had a firm sense of my project before applying. Did you?

Unfortunately, no. This was not my own degree of readiness when I entered the University of Alabama’s MFA program way back when in 1995; I enrolled as a writer of (thinly veiled autobiographical) short stories and exited with a reasonably polished memoir. The luxury of conceiving and beginning my Big Thing in the midst of my writing program was granted by the fact that while graduation from Bama is possible in three years, they’ll actually keep (read: fund) their students for four fat years. If I’d been in a two-year program, I would have run out of time. That said, the problem with my know-your-project advice is that MFA candidates might feel locked into a project that changes (or evaporates!) as they move into new writing relationships with professors, peers, and texts in their programs. We go into graduate writing programs to challenge ourselves as readers, thinkers, and writers, so new directions should certainly be encouraged, right?

Oh yes. I think that inevitably, the project you think you’ll work on in grad school shifts and morphs and changes. So, does that mean it doesn’t really matter when you go?

Here’s a better stab at a one-size-fits-all answer. You are ready for an MFA program when you’re ready to be there, when spending hours at a desk with a laptop or pencil rearranging words into sentences seems like the only thing worth doing. You’re ready to enter a graduate writing program when you’re writing. Regularly. A lot. One indicator to me that a student will not succeed in a writing program is when she believes that a writing program will make her write. I’m not writing now. There are too many distractions. But when I’m admitted into a program, well, then I will write! Probably not.  In graduate school, there are distractions galore: coursework, sometimes teaching, an infatuating peer group of like-minded writers; if you’re not writing now, I tell these students, you will struggle. Do something else for awhile. If you’re waiting tables and writing, then it might be time to put in some applications.

That’s very good advice. Okay, so to shift a little, what kind of writer is best suited for a low-residency program as opposed to a regular residency program?

Discipline and self-motivation are incredibly important in any graduate writing program, but strike me as particularly essential in a low-res student.  In many ways, a low-residency program most closely emulates the lives of out-in-the-publishing-world writers. In most programs, students submit three or four “packets” of writing to a professor/writing mentor during the course of the low-residency semesters—a practice similar to the way in which writers submit writing to editors or agents for review and critique.

For those reading this who are interested in pursuing a low-res program, describe what that means, “low-res,” and what kinds of residency models are used?

Low-residency models vary; a quick search on the AWP site brings up thirty-seven low-res options.  If you’re the kind of writer who prefers a one-on-one relationship with a writing mentor, you can find that.  If you’re a writer who needs more community and peer-interaction, look for a program that supplements the packet-system with an online learning community with the kinds of discussions and workshops you’d find in a brick-and-mortar classroom. Another key difference among programs is the number of residencies. Ashland’s program uses a one-residency model (two full weeks in summer with an astounding line up of visiting writers to supplement the core faculty), but more common is two one-week residencies, one in summer and one in winter. Think about what works for both your schedule and your learning.

Who are your low-res students at Ashland? What kind of lives do they have?

Multiple high school English teachers, a retired pharmaceutical industry executive, a literature professor, a social worker, a registrar at a private college, a self-employed writer, a bartender/filmmaker, a newspaper journalist, and the owner of a computer consulting business, to name a few.

So for someone contemplating applying to a low-res program, what’s the upside? What are the downsides?

A low-residency program grants students with unmovable families, careers, and homes the opportunity to be part of a writing community. The primary disadvantages, as I see them, are the general lack of funding and financial aid for low-residency programs and the fact that because students aren’t funded through teaching assistantships, writers graduate with no teaching experience. If a teaching position at a university is your goal, and you’re not already teaching, then a low-residency program probably isn’t going to be the best place for you.

Stay tuned for the second half of the interview next week!

Interview with Christopher Newgent on the independent publishing world, the web’s effect on literature, and balancing work with passion

Christopher Newgent

Christopher Newgent graduated from Ball State with a Bachelor’s Degree in Creative Writing in 2006. Newgent puts his degree to use trying to improve his city environment of Indianapolis by bringing independent literature to the public at art and music events. He generously agreed to share those experiences with us here at the English Department blog, as well as his experience balancing a working life with creative passions.

Can you share a little about what your job is and what sorts of duties it entails?

I work as a technical writer for Aprimo, Inc., a marketing software company in Indianapolis. My job is primarily writing the online Help—how to perform specific functions in the product. I’m about to start taking over localization efforts, which is business-speak for getting the product translated into other languages.

How did your English major at Ball State prepare you for such a position?

The fact that it had “writing” in the title helped, but it actually took a bit of salesmanship to convince the hiring manager that I could take a creative writing major and succeed as a technical writer. There’s a hefty difference between creative and technical writing, but the overlap exists in consideration of audience and precise language. BSU has professors who really excel at teaching these two aspects—Mark Neely, Sean Lovelace, and Andrew Scott particularly come to mind.

Can you explain a little about Vouched Books—how it came about and what your aims and ambitions are for the project?

Vouched is a project to promote independent literature in Indianapolis. It started with the idea of setting up a flea-market-style book table at literary and art events, and shilling small press books that I’d read personally and wanted to champion. It grew from there to include the Vouched Presents reading series and Vouched Online, where I and a handful of contributors link to work published in online journals that we like—curating our little corner of the literary internet, essentially.

As for ambitions, I should probably sit down sometime and really make a list of them. It’s all sort of grown organically so far, to be honest. I don’t have any dream of opening a brick & mortar bookstore, or making it a financially viable endeavor. I just want to promote some work that I really believe in by people who don’t have much of a budget to promote beyond the internet. And the way I’ve found to do that is to go where people are who appreciate art and words, but likely don’t know independent literature exists. If a legit opportunity arises to make Vouched my full-time career, you can bet I’ll own it, but right now, it’s just a hobby; an exercise in literary citizenship.

How do you balance your working life with your literary pursuits/passions?

Honestly, the only way to find a balance is the classic cliché—show up to the page every day. Make time for it. Ideas will never be the problem. A story can come to you when you’re driving to your aunt’s for Christmas. The problem will be sustaining the drive to sit down when you get home from your aunt’s and punch out a draft without having the deadlines you have in school, the drive to write for yourself instead of a grade. It’s easy to be an idealist in college, to think you’re writing for yourself then, but you’re not, and that’s okay. And you’ll find that out a year or so after graduation. Your life will get busy, you’ll have a new roof to afford, a spouse to adore, maybe kids, college loans, a car that breaks down. And unless you say, “No matter how busy life gets, I will write 750 words a day,” you’ll eventually be reduced to jotting an occasional line on a napkin until one day you wake up and remember you wanted to be a writer once. With all faith, you’ll pull those napkins out from the drawer you were keeping them, and start writing.

Are there any other projects, on the web, personal, or otherwise, that you’re involved in?

For the past almost two years, I’ve been working on founding INDYCOG, a blog that grew into a nonprofit organization that works with Indianapolis to promote cycling. But I’ve recently taken a lesser role in that as I focus more on Vouched and other endeavors.

You seem to be very active on the web, as well as knowledgeable about web-based material. What are your thoughts on the web’s effect on literature and how people are adapting to it?

I’m actually working on an essay/guest post for HTMLGiant discussing the explosion of independent music in the late 90’s due to the internet, and how I see the current independent literary community doing the same thing now, albeit a decade late. I think literature is behind the curve in adapting to the web, likely because of the taboo online publishing has had until recently. But, I think as online journals build their legitimacy, as more and more writers and publishers learn to use the internet to promote and build community, the more opportunities will present themselves to literary authors, especially emerging authors. But let’s face it—romance and celebrity memoirs will always outsell literary works, just like even though you hear all sorts of independent music on commercials and TV shows now, Nickelback still outsells Sufjan.

What are some books you’re reading right now, and what are some titles to look for that may be somewhat under the radar?

I’ve just started writing a novel, so I’ve turned my attention to those a bit, reading Cormac McCarthy’s No Country for Old Men. There’s kind of a lack of novels in the small press world. I just started Matt Bell’s How They Were Found, and I recently finished Mark Neely’s Four of a Kind, both of which deserve to be read. If you’ve not read Sasha Fletcher’s When All Our Days Are Numbered yet, then you’re without. And, if you want to learn how to craft a sentence, Scorch Atlas by Blake Butler.

Top five literary blogs…GO!

In no particular order: HTMLGiant, Bark, We Who Are About to Die, PANK Blog, Big Other.

Any parting advice/wisdom you would like to offer to the students of BSU?

You are not alone.

Two readings tonight!

Tonight, Professor Mark Neely (also Director of Creative Writing) will be reading from his chapbook Four of a Kind in Bracken Library, room 104, at 7:30 p.m. Neely’s chapbook was named Winner of the 2009 Concrete Wolf Chapbook Competition.  The reading will be opened by guest student reader Jeremy Bauer, who was chosen from among a number of anonymous entrants. In the same fashion as the Bloof Books reading, undergraduate students submitted their work anonymously for a chance to open the reading, with the main-event writer/writers choosing the winner.

Adding another scoop to this sundae of a night, there is a student-organized reading tonight as well, starting at 9:30 p.m. at Be Here Now in the Village. If you are under 21 there is a $1 cover charge at the door. So, BSU, I hope you’ll take the opportunity to see what your professors are writing as well as your peers. It’s a good night for English lovers, so reward yourself and embrace it.

Guest Post: Tyler Gobble on chapbooks, a DIY medium allowing a variety of options concerning publishing and creativity

You might be asking yourself two things: how in the world did they let you back on here, Tyler Gobble? And what in the world is a chapbook? I can’t really answer the first one, but the second one I’m gonna try.

Avoiding the long history of the chapbook, the way it developed, its historical purposes, etc., I’m going to focus on how the chapbook is used by indie writers, small presses, and even students, focusing on Ball State University.

First, a chapbook is a small print book with a low number of pages, often stapled-bound. Nowadays, the chapbook serves a wide range of purposes, from being a teaser for a forthcoming book to acting as a DIY thing for writers to use (often similar to how local bands use demos to make money and spread their name). With the popularization of ebooks, electronic chapbooks have also become popular in the form of pdfs and webpages. Essentially, chapbooks are a viable medium, I think, for writers as they are relatively inexpensive to produce, less difficult than full length books to create, and easily distributable.

Ball State University has its own realm of professors and students with chapbooks. Creative Writing faculty Sean Lovelace and Mark Neely have recently won chapbook contests for print chapbooks. Former students Shaun Gannon and Daniel Bailey each have their own echapbooks from independent publishers. As students, Gannon and Bailey also self-released their own print chapbooks. Current students Jeremy Bauer and Ryan Rader have also went the DIY route by seeing to their own chapbooks being published. Whether through a contest, a publisher, or self-published, I think it is pretty sweet to see these Ball State affiliated writers have their work published via the chapbook medium.

Now, I want to take a minute to talk to one of these cool dudes, Ryan Rader, about his chapbook.

Interview With Ryan

1.     Can you tell readers about your chapbook (how it came out, when it was released, the process, etc.)?

I wrote a group of poems for a class with Mark Neely, and once I had seen Dan Bailey’s amazing chapbook look at me deeply with great meaning I knew I wanted to do something just like it: simple, small, memorable. A co-worker of mine, Johanna Ofner, was a design major and offered to put together a print version of these poems. I edited them to add a pseudo-narrative and we printed off about seventy copies. I believe this was in 2007, but my memory is fuzzy.

2.     What kind of response did you receive about your chapbook and the poems in it?

Exceptionally positive, especially at such a young age (all of the poems were written when I was eighteen-twenty years old). A couple of the poems had been published in online journals before it was in print; this gave me the confidence to publish other poems myself. It is still the best personal project I have ever done, and I am proud of the results.

3.     What is your opinion on chapbooks as a medium for literary endeavors?

You know how all the cool kids buy their music on vinyl because they love the feel of it? How holding something antiquated and beautiful in their hands and actively moving through the print and the music all at once brings them closer to a pure form of expression? Chapbooks, and really any small press publication, are to publishing what vinyl is to the modern record industry. Definitely a niche market, but a devout one that appreciates a DIY approach combined with professional quality.

4.     What are some chapbooks that you have enjoyed (either print or online)?

Daniel Bailey’s chapbook was my original inspiration; I love every poem in it (“Underwater God” is a favorite). Shaun Gannon’s Casual Glory; or Macaulay Culkin does nothing is, simply, a hoot. Never has vomiting seemed so cool and poetic.

5.     Do you see a difference in productivity/quality/readership between online vs. print chapbooks? Press published vs. self-published?

Since the readership for poetry is criminally small, it seems like fighting over who’s getting more readers is like getting in a bidding war over acres in Antarctica. Quality? Always subjective, especially in the hyper-specialized world of poetry. I want personal exploration and juxtaposed, absurd imagery—others want their poetry tight as a snare drum and loaded with natural beauty. But we are, ultimately, on the same side: trying to get more readers. I think it takes conventional and unconventional means to reach that goal. It’s the same world to me; while I prefer to stick with print, because humanity is obsessed with the tangible, I know that both mediums working in tandem is crucial to the proliferation of new, good, exciting poems.

End.

Two members of last year’s In Print Festival, Matt Bell and Mary Miller, have had chapbooks released by presses. Bell’s first chapbook, How The Broken Lead The Blind, was published by Willow Wept Press in April of 2009, and his second, The Collectors, was published in May of 2009 by Caketrain after being a runner-up in their 2008 Chapbook Contest. Since both of these chapbooks have sold out, they are available as ebooks now. Matt also wrote Wolf Parts, a chapbook released by Keyhole Press last spring in anticipation of his first collection, How They Were Found, in which Wolf Parts and The Collectors appear. Mary Miller’s Less Shiny was released from Magic Helicopter Press in 2009 as a teaser for her first collection, Big World. These examples illustrate how up-and-coming authors can use contests and chapbooks to further push themselves towards full length collections and literary success.

Through websites, like Chapbook Review, small press competitions, and the continuing popularization of DIY art, chapbooks are a respectable medium in the literary world. I pick up a chapbook, and I am like, “HEY I CAN MAKE THAT.” Then, I open it up and there are these words like beautiful hellos and I shake my head at how wonderful all these words are. For me, chapbooks are accessible, awesome, fun, interesting, and useful because they are nice simple bundles of literary booyeah.