Seeking Short Story Submissions

The Las Vegas Literary Salon announces a call for submissions to the Elmer Schooley Short Story Contest, with support from its fiscal sponsor organization, the Las Vegas (NM) Arts Council, and made possible by the generous donation from Lorenzo Martinez of four Elmer Schooley prints.

One of the four prints was selected to serve as the inspirational launch point for participating writers, shown at left. Qualifying submissions and prize-winning stories will be those which best reflect and reveal the hidden tales behind the image.

The deadline to receive entries is midnight, June 1, 2022. Professional and amateur writers of all backgrounds and ages are welcome to submit their works of 2,000 words or less. The three cash prize winners and all qualifying entries will be included in an Anthology, to be published by the Las Vegas Literary Salon later this year, and each will receive a free copy of the book.

In support of the Las Vegas Literary Salon’s fundraising efforts, the Schooley prints will be on display and available for purchase during the month of May at the Las Vegas Arts Council Gallery 140, 140 Bridge St. in Las Vegas, NM, along with works contributed by other artists in the local area in support of nonprofit organizations. For more information on the gallery show, contact Susie Tsyitee at lvac@lasvegasartscouncil.org, or 505-603-9543.

Find full submission guidelines for the Elmer Schooley Short Story Contest at: https://lvnmlitsalon.org/call-for-submissions/

Email questions to lvliterarysalon@gmail.com.

The Las Vegas Literary Salon is a fiscally sponsored nonprofit organization whose mission is to present, preserve, publish, and promote writers and their works.

                                                                            ####

THANKS TO THESE GENEROUS DONORS WHO HELP SUPPORT LAS VEGAS LITERARY SALON

The Las Vegas Literary Salon Elmer Schooley Short Story Prize fund-raising effort is supported by donations from educator, author and artist Ray John de Aragon, and Rosa Maria Calles, artist, playwright, and folklore dramatist. Among the offerings are signed posters of paintings by de Aragon and Calles depicting cultural icons Gorras Blancas and Los Penitentes, and several of de Aragon’s books, most with cover illustrations by Calles. Ray John is a recognized expert on the Spanish colonial arts, traditions, heritage, and folklore.

The 19 x 25 signed posters sell for $50 each; the books are available at prices ranging from $16.95 to $24.95. The books (listed below) are a mix of fiction and nonfiction.

• Images of America: Lincoln – Arcadia Publishing, $21.99
• The Legend of La Llorona – Sunstone Press, (Illustration, Rosa Maria Calles) $16.95
• Recollection of the life of the Priest, Don Antonio Jose Martinez, by Pedro Sanchez, (Original Spanish text translated by Ray John de Aragon – Illustration, Rosa Maria Calles) $16.95
• New Mexico in the Mexican-American War – The History Press, $21.99• The Penitentes of Hew Mexico, Hermanos de la Luz/Brothers of the Light – Sunstone Press, (Illustration by Rosa Maria Calles)$24.95
• Hermanos de la Luz – Brothers of the Light, Heartsfire Books, (Illustration, Ray John de Aragon)$16.95
• Padre Martinez and Bishop Lamy, Sunstone Press, (Illustration, Rosa Maria Calles) $18.95

To purchase any of these items, contact lvliterarysalon@gmail.com, or contact the Las Vegas Arts Council, Gallery 140 (140 Bridge Street), Las Vegas, N.M.

Read more on the two artists who are donating their work to support Las Vegas Literary Salon and the Las Vegas Arts Council.

From PeoplePill: “Rosa Maria Calles, artistic director for Matraka Inc. wrote and produced the thrilling play Cuento de La Llorona…The play … attracted rave reviews from critics throughout New Mexico…the story is told in the form of a spectacular stage play with music, song, dialogue, and dance that captures the very essence of Spanish Colonial traditions, heritage, culture, and history in the Southwest.” From Latinos In the Industry, October 2004, a publication of the “National Association of Latino Independent Producers.” Read more of Calles’ bio at this link https://peoplepill.com/people/rosa-maria-calles

From PeoplePill: “Ray John de Aragón was born in Las Vegas, N.M. It is generally agreed that the most significant biographical link between de Aragón and his work is this fact of his birth and growth to maturity in his native New Mexico. Here is the source of his knowledge and love of his Hispanic culture and traditions, his biological view of life, and many of his characters, whether true life heroes such as Padre Antonio Jose Martinez, who is the subject in many of his writings, or the legendary La Llorona, who is the wailing female ghost of Hispanic folklore.” (Jim Sagel, Ray John de Aragón in Profile) Read more about de Aragon at this link https://peoplepill.com/people/ray-john-de-aragon

Our deepest appreciation to husband-and-wife creative team, Ray John and Rosa Maria.


Please make checks payable to Las Vegas Arts Council with Lit Salon in the memo line. Click here for more information about the Elmer Schooley Short Story Prize.

SEEKING SHORT STORY ENTRIES

WHAT DOES THIS ELMER SCHOOLEY PRINT CONJURE UP IN YOUR WRITER’S MIND?

If you enjoy writing short stories, this is for you. The Elmer Schooley Short Story Prize is a writing competition sponsored by the Las Vegas Literary Salon, made possible by the generous donation from Lorenzo Martinez of four Elmer Schooley prints. The print seen here has been chosen by the Las Vegas Literary Salon to be the subject of short story entries. We’re looking for good writing and creative panache!

Image

What does this image conjure in your mind? Write that in a short story of 2,000 words or less and submit. Three cash prizes will be awarded. Prize-winning stories and qualifying submissions will be those that best reflect the hidden stories behind the image. Qualifying submissions among non-winners will be included in an Elmer Schooley Short Story Prize Anthology along with the top three winners. Authors included in the anthology will receive one free copy of the book. Click on Call for Submissions in the menu to download the Submission Guidelines.

Three of the four prints by this well-known artist will be available for sale as part of a fundraising initiative for Las Vegas Literary Salon. One has already sold for $2,000. The buyer wishes to remain anonymous. For details about the available prints, contact lvliterarysalon@gmail.com.

Elmer “Skinny” Schooley (February 20, 1916 – April 25, 2007) was an American painter and printmaker. He received a BFA from the University of Colorado, and an MA at the State University of Iowa. Schooley was a Professor of Art and Head of the Department of Arts and Crafts, New Mexico Highlands University, Las Vegas, New Mexico. His works are included in collections at the Library of Congress, Metropolitan Museum, Museum of Modern Art, among others.

The image above and the two below are available for purchase. The items are valued from $1,500 to $2,500. Funds raised from sale of the items will go to support Las Vegas Literary Salon projects, including the Elmer Schooley Short Story Prize and publication of an anthology of qualifying entries. A portion also goes to our fiscal sponsor, the Las Vegas Arts Council to support its ongoing efforts to showcase and promote art in all its forms.

LAS VEGAS LITERARY SALON NEWS AND NOTES

CALL FOR READER/JUDGE ELMER SCHOOLEY SHORT STORY PRIZE

The Las Vegas Literary Salon is looking for a reader/judge for the Elmer Schooley Short Story Prize writing contest, which is based on a print Schooley created in his student years. The deadline for entries is June 1, 2022. Entries will have a maximum word count of 2,000. Reading will take place as entries arrive. An honorarium will be offered. Contact lvliterarysalon@gmail.com if you are interested. LVLS will collaborate with reader/judge on a suitable judging rubric.

Elmer “Skinny” Schooley (February 20, 1916 – April 25, 2007) was an American painter and printmaker. He received a BFA from the University of Colorado, and an MA at the State University of Iowa. Schooley was a Professor of Art and Head of the Department of Arts and Crafts, New Mexico Highlands University, Las Vegas, New Mexico. His works are included in collections at the Library of Congress, Metropolitan Museum, Museum of Modern Art, among others.

WHAT DOES THE SCHOOLEY PRINT SHOWN ABOVE CONJURE UP IN YOUR WRITER’S MIND?

The Elmer Schooley Short Story Prize is a writing competition sponsored by the Las Vegas Literary Salon, made possible by the generous donation from Lorenzo Martinez of five Elmer Schooley prints. The print above has been chosen by the Las Vegas Literary Salon to be the subject of short story entries. We’re looking for good writing and creative panache!

What does this image conjure in your mind? Write that in a short story of 2,000 words or less and submit. Three cash prizes will be awarded. Prize-winning stories and qualifying submissions will be those that best reflect the hidden stories behind the image. Qualifying submissions among non-winners will be included in an Elmer Schooley Short Story Prize Anthology along with the top three winners. Authors included in the anthology will receive one free copy of the book. Click on Call for Submissions in the menu to download the Submission Guidelines. The prints will be available for sale as part of a fundraising initiative for Las Vegas Literary Salon.

This fund-raising effort is future supported by donations from educator, author and artist Ray John de Aragon, and Rosa Maria Calles, artist and folklore dramatist. More about them on the Las Vegas Literary Salon website soon. Among the offerings are signed posters of paintings by de Aragon and Calles depicting cultural icons Gorras Blancas and Los Penitentes, and several of de Aragon’s books. He is a recognized expert on the Spanish colonial arts, traditions, heritage, and folklore.

COMING IN MARCH: NEXT GEN RETURNS

These students of West Las Vegas High School teacher Anthony Lopez participated in the Salon’s first open mic event and then made a solo act return as presenters for the Next Gen event a couple of months later. Their poetry is fresh, original, thoughtful, and creative. They’re coming back with new material and new participants. Shown in this photo are Maya Sena, Christian Lopez, Josephine Morales, Dominic Garcia,
Viviana Rivera and Joshua Sandoval. We are expecting twenty presenters this go-around.


UPCOMING EVENTS
Scheduled 4th Sunday of every month at 4 p.m.
Venues to be determined
, times subject to change

• March – Next Gen poetry reading featuring high school students
• April – Poetry Open Mic (Working collaboration with NMHU student Aman WInkle)
• May – Featured Author Event TBA
• June – Book Fair sale of books with a focus on LOCAL AUTHORS
• July – Writing Historical Fiction, Patti Romero
• August – Featured Author Event TBA
• September – Hispanic Heritage Month (If you are interested in being a presenter, contact lvliterarysalon@gmail.com)
• October – “Readers Theater” Featured Authors – Patti Romero and Sharon Vander Meer
• November – Open Mic Essays and Poetry: Being Thankful
• December – Book Launch (This assumes we will receive sufficient qualifying short stories for the Schooley writing contest to create a book.)

THANKS TO OUR FISCAL SPONSOR AND BEST CHEERLEADER – LAS VEGAS ARTS COUNCIL

Patti Writes

https://images-na.ssl-images-amazon.com/images/I/81AyHIYo6sL.jpg

“Why do I read?
by Gary Paulsen

I just can’t help myself.
I read to learn and to grow, to laugh
and to be motivated.
I read to understand things I’ve never
been exposed to.
I read when I’m crabby, when I’ve just
said monumentally dumb things to the
people I love.
I read for strength to help me when I
feel broken, discouraged, and afraid.
I read when I’m angry at the whole
world.
I read when everything is going right.
I read to find hope.
I read because I’m made up not just of
skin and bones, of sights, feelings,
and a deep need for chocolate, but I’m
also made up of words.
Words describe my thoughts and what’s
hidden in my heart.
Words are alive–when I’ve found a
story that I love, I read it again and
again, like playing a favorite song
over and over.
Reading isn’t passive–I enter the
story with the characters, breathe
their air, feel their frustrations,
scream at them to stop when they’re
about to do something stupid, cry with
them, laugh with them.
Reading for me, is spending time with a
friend.
A book is a friend.
You can never have too many.

Gary James Paulsen (May 17, 1939 – October 13, 2021) was an American writer of children’s and young adult fiction, best known for coming-of-age stories about the wilderness. He was the author of more than 200 books and wrote more than 200 magazine articles and short stories, and several plays, all primarily for teenagers. He won the Margaret Edwards Award from the American Library Association in 1997 for his lifetime contribution in writing for teens. (Source Wikipedia)

The Transmogrification of My Hands

Edwina P. Romero                                                              

Once nimble-fingered, strong, and knuckle-crackable, my hands have become autonomous lethal weapons always at the ready to attack my sense of self, to confound me, and to turn an innocent, heretofore intuitive movement into a booby trap.

I tape a package and tape sticks to my thumb; I pull gently at the vacuum cleaner, it leaps forward tangling its own cord into a heap of spaghetti. I grasp my well-worn, familiar mug and fingers miss the mark, shooting mug and coffee forward, out of reach. Singling out and retrieving one sheet of paper has become a major and arduous accomplishment, often concluding with several wrinkled, unusable discards.

As in a possible episode of “The Twilight Zone,” my ladies’ hands metamorphosed into independent claws disconnected from my autonomic nervous system. Once involuntary actions, such as rubbing my eye, now require detailed planning so as not to run the risk of poking out my eye. Now, I consciously think out the steps, the route, my hands, thumbs, and fingers will take in order to perform the rubbing of the eye successfully and without pain.

Typing, (currently referred to as ‘keyboarding’) a learned skill similar to playing piano (hence ‘keyboarding’), has become anxiety-provoking torture. For way over 40 years, I relied on this skill—without thought—while composing such documents as scholarly papers, creative mish-mashes, memoirs, and reports. And, having reached the typing speed and accuracy worthy of an Executive Administrative Assistant, I embraced a false, oh very false, sense of security. I believed that skills once-learned and heavily practiced achieve a sort of permanency.

However, my newly evolved fingers no longer strike the intended keys, indeed these alien claws play dirty tricks—creating such abominations as wrrd, or rwod for word. How do my fingers do such things? They race ahead, lag behind, or enter mortal combat with each other and my thumbs; they jump together on one key; they ignore the space bar; they skip over whole words.

These hands and fingers that I once trusted to steer a car, comb my hair, tie the string on my baby daughter’s bonnet, no longer can be relied upon to do my bidding. And, sometimes, just to be perverse, they ache.

These hands, fingers, thumbs, knuckles, and wrists don’t even look the same. They are spotted, wrinkled, and bent into odd shapes. I no longer recognize these hands, nor can anticipate their next movements.

Yet, these are small betrayals. Not cancerous or gangrenous—only mind-boggling—minor irritations reminding me that I am organic. So, when my hands trp me up [as they just did with trp not trip], I shall recall that all transformations may not be spiritual.  

TRY IT: I wrote this essay in response to a one-word writing prompt: transmogrification. Try it, or chose your own word.


Edwina P. Romero is a founding member of Las Vegas Literary Salon. She has authored several books including her novel, Prairie Madness, Conspiracy at Fort Union. For more about Patti, click here.

INTERVIEW WITH LAS VEGAS, NM POET LAUREATE KAYT PECK

Award-winning author, playwright, poet, screenwriter and successful grant writer Kayt Peck sat down with Mary Rose Henssler recently for an interview. Kayt is the current Poet Laureate of Las Vegas, N.M., and will be the featured guest at the Literary Salon Visit with the Author, at Gallery 140, 140 Bridge Street, Las Vegas, N.M., on Sunday, Oct. 24, 2021, at 4 p.m. In our interview, we discussed writing, among many subjects, and that part of the interview is excerpted below.

Kayt Peck

MRH:  You were studying speech and communications. At what point did you start knowing that writing was your life?
KP: Before I could write I would go into my dad’s office and make up stories on his typewriter. I was just pecking away, but the stories were in my head. Yeah, I always wanted to write.

MRH:  And at what point did you start writing fiction?
KP: Probably junior high. It sucked, but I wrote it. And my degree – I had a weird degree – it was called a functional degree, and I had a major in speech, and what amounted to a triple minor in journalism, psychology and education. That’s because they tried to push me into that. Actually, I finished everything except my student teaching to get education certified, but I didn’t want to teach. That’s something they – if you’re a woman at that school you had to go into education or medicine or something. I had no desire to be a teacher. I’ve been told I’m a good one.

MRH: What is your writing kryptonite? Something that protects you from just everything and lets you write?
KP: That’s a good question. Writing kryptonite. Passion. I have pretty much–I have developed the craft. I can write about anything. I make a living largely writing grants, so I can write about anything. But when it comes to fiction, when it comes to plays or now screenplays, it has to be something I am passionate about. And if I truly have passion about something there’s no such thing as writer’s block.

MRH: Now, you believe in writer’s block, but you don’t get it?
KP: I do sometimes, but it’s short lived. It’s when I’m tired. It’s the body saying ‘shut up.’ I do get it sometimes. Natalie Goldberg has some great exercises to get you past, you know, over the hump. I think it’s a story she wrote or my writing instructor in college may have told me this story about someone who was in a writing class and couldn’t write. Just couldn’t get past it, so the instructor said, “Okay. Just pick a street.” She did. “Pick a building.” She did. Couldn’t write. The instructor finally said, “I want you to go to that building. Go up ten bricks, three bricks over, and start writing about that brick.” And that broke it. Have you ever read my tagline on my email? ‘Writers are like magic wands. They can create anything.’ And you know, we really do. It’s not just on the page. Writers create everything when you come down to it, the things that happen in the world, the things that humanity creates, it has to start with words. Everything has to start with words. It has to start with communication. That’s why I was so fascinated by interpersonal communication.

MRH: When you were in the Navy, I know the bombing of the Murrah Building in Oklahoma City had a tremendous affect on you. What other experiences with the Navy had a great affect on you, good or bad?
KP: Probably the most important writing I have ever done in my whole career was when I was recalled to go to Strategic Command to help write the VIP documents when Admiral Childs was developing a plan for the stand down from the Cold War. So, I helped write the documents he used for key legislative committees to convince them to follow his plan.

MRH: You feel that was the most important writing you ever did. Do you feel that way about any of your fiction? Do you feel that your fiction has an impact on the people that read it?
KP: I think so, yes. I think this latest book, especially. The fantasy series. I really need to get into a different market for that, because I think that series… You know, Harry Potter changed the world. I think everything I’ve written–sometimes it feels like I’m not writing alone so everything I’ve written there’s been a trigger. I don’t write just for fun. It’s fun to write, but there’s something. There’s a kernel. A truth I need to say, or an observation I need to say. I told you the story of why I decided I needed to write Broken. The Ladies Room, I had to do.

MRH: That was a very powerful book.
KP: And you know, I couldn’t really tell the story of what it was like to start an organization in the Texas Panhandle, because nobody would have believed it. It was horrible. But I needed to get that flavor, that experience out to people. And do you know, I’ve done well selling that book out at the flea market, when I tell people what it’s about, that’s the one they want–straight people. And I’m amazed how supportive they are when I tell them what the book’s about. The fantasy trilogy? That was important to me, and it hasn’t hit where it’s supposed to yet. I probably needed a different publisher for that. When I write, I let the story drive the length and the pace. And even though I like fantasy, Tolkein was so verbose. The story’s good, but I enjoyed the movies more than the books. I’m waiting to see what happens with Chokecherry Jelly (screenplay). I entered it into two contests and I’m not entering it into any more until I see what it does. It costs money to enter screenplay contests. (Chokecherry Jelly won both contests.) (Someone) wants to produce it, but it’s a long ways from concept to production on a movie.

MRH: Unless you want to do it yourself.
KP:  There’s so much I want to accomplish, and picking and choosing, because I realized, you know, I’m not going to live that much longer. In the scheme of things, ten or even twenty years isn’t that long.

MRH: If you could tell your younger writing self anything, what would it be?
KP: It wouldn’t be my writing self; it would affect my writing self, but I would go back earlier. Because when I was a kid growing up, somehow I knew it wasn’t me that was screwed up. Well, I was screwed up, but I think I would go back–I waited until I was older to–I’ve written forever. I’ve got manuscripts even I forgot I had written. But it wasn’t until I got in my fifties where I started saying, “Yeah, let’s put it out there.”

MRH: So you wrote, but you didn’t send it out anywhere, until you were in your fifties?
KP: I would do some, but I wasn’t real serious about it. I was serious about helping other people accomplish their dreams, because that was the subliminal message that I had, was that my talent wasn’t supposed to be used for me. So if I could, I would go back to even before pre-writing and tell child me, “It’s okay to be ambitious. It’s okay. You’ve got a gift. It’s okay.”

MRH: So that was a pretty powerful message that you were getting from the people around you.           
KP: Oh yeah. That I wasn’t supposed to use my talent for me. And it took me a long time to even recognize that’s what it was doing. I think that’s why I got into grants, because it was okay. I told myself at the time it was a great way to practice my writing skills and still make a living. Now, I look back at it, and if I had put it where I really wanted to, by now I’d be in clover.

MRH: What did you do with your first advance?
KP: What advance?

MRH: Your publisher doesn’t give an advance. What did you do with the first check you got from your writing?
KP: Put it back into the writing. Or into publishing. All of the stuff I make off my books I put into Dreamcatcher Books or I put it into the marketing. So I’m trying to think if I used it for anything else.

MRH: What was the best money you ever spent as a writer?
KP: Getting a computer. That really opened things up.

MRH: You wrote your first books on a typewriter?
KP: Mmmhmm. Speaking of investment, I tried to make an investment. When I was in my twenties, I thought okay, I want to be a writer, I want to do publishing, so what am I going to do? So I started a little magazine called The Coldwater Holdout. Which is apparently kept in a couple of museums in Oklahoma. Which is kind of fun. And my dad had bought, when I was a baby, a whole life policy which he turned over to me when I turned twenty-one, and I left it for a while and I thought, ‘You know what? I need some money to be able to do this magazine.’ So I cashed it in. Now, this is one of the ways–I should have divorced him then–so, I made the mistake of putting the money in the joint bank account. Kevin bought a motorcycle. Spent my magazine money on a motorcycle, so that was a short-lived–I think I did it for six months. It was so much fun. I’ve still got it somewhere. I ought to let you see it. The Coldwater Holdout was fun. I might have been able to stay in publishing. But you know, I don’t regret the newspapers I worked for, either.

MRH: What do you regret?
KP: Not a damn thing.

Kayt Peck will be the Literary Salon’s featured guest on Sunday, Oct. 24, 2021, at 4 p.m. at the Gallery 140, 140 Bridge Street, Las Vegas, N.M. Refreshments will be served. Please wear a mask and observe social distancing.

Author Kayt Peck’s published works.

Article written by Mary Rose Henssler whose work includes playwriting, scriptwriting, poetry and prose. She also enjoys drawing, painting, printmaking, photography, and being outdoors.

_________
Photos: Courtesy Kayt Peck

Deborah Blanche as Adelina Otero-Warren

Register today!

The Las Vegas Literary Salon (LVLS) announces the appearance of Deborah Blanche as Nina Otero-Warren in a Chautauqua program, Aug. 22, 4 p.m., via Zoom. This presentation is free, but registration is required. To register, sign up below to receive the Zoom link.

“Perhaps La Nina, Adelina Otero-Warren, is best remembered for her influential role in securing the passage of the women’s suffrage amendment by the New Mexico legislature,” says Blanche, a veteran Chautauquan who researched and wrote the narrative in addition to portraying Otero-Warren. The first Latina to run for the United States Congress, La Nina will soon be featured on a US coin in the American Women Quarters Program beginning in 2022.

Born in 1881 into two of the most influential and prosperous families of the Rio Abajo – the Baca-Lunas and the Chavez-Oteros, La Nina was educated in both Spanish and English receiving secondary and college training in St. Louis. Throughout her life she was an active figure in the politics, social work, education, and the society of New Mexico’s capitol city. Her literary accomplishments, captured in her book, Old Spain in Our Southwest, focus on family memories as well as ranch and hacienda life in early New Mexico Territory.

La Nina artfully lived a life of self-determination while walking the well-defined lines of her class and society. Her professional work and causes included bilingual and literacy education for the rural residents of Northern New Mexico, improved health and education for Pueblo peoples, and preservation of the arts, stories, and customs of her Hispanic heritage. “Brilliant, gracious and tough,” Blanche concludes. “She’s a real challenge to portray.”

The Chautauqua program format is one in which an historical person’s life is researched thoroughly; then presented to the public as a dramatization by the scholar/performer in costume and often with props. Blanche’s presentations tend to be like short plays with spaces allowed for the audience to interact informally in a question and answer dialogue. “It’s like a trip back in time for all of us,” she says.   

Deborah Blanche has been creating one-woman shows as well as storytelling and Chautauqua programs since the mid-1970’s after studying original theatre in England. In addition, she has toured throughout the United States. In 1988 she received the YWCA’s Woman on the Move award for her contribution to the arts in New Mexico. She lives near Las Vegas, New Mexico, and her entire repertoire can be seen at www.palomitaproductions.org.

For more information: Contact Edwina P. Romero, epattiport@hotmail.com; or go to Las Vegas Literary Salon lvliterarysalon@gmail.com or the Las Vegas Arts Council, lvac@lasvegasartscouncil.org.


Register to receive Zoom link for La Nina, Adelina Otero-Warren

Dr. Alvin Korte, Feedback

Dr. Korte was the featured guest on Las Vegas Literary Salon’s Visit with the Author, Sunday, May 23. Here are his comments about the experience, shared here with his permission. You may watch a video of the event here.

Dr. Korte: Personally, I am satisfied with the whole experience. When confronted with the format, I unlearned everything. To begin with, I couldn’t log on to Zoom. My daughter and backup arrived at the right time and logged me in. I am still trying to answer the question as to what to make of Baca’s poem. I found some stuff in the Nosotros book, which has a classification by type. Anyway, I spent 30 days developing a one-hour Powerpoint presentation (for the Salon). Overall, starting from the last presentation (on dreams and creativity), I was  glad I heard about dreams. It freed me to rethink my paper on “transcendence.”  I had been stuck for about six weeks, complete writer’s block. I remembered Marie Louise von Frantz’s book “On Dreams & Death: A Jungerian Interpretation.” The month of work on a slide show gave me the kind of review of my work I  needed to complete the book. The road ahead is clear.

I am glad the interview went the way it did with an open discussion. Through development of the slide presentation, the work became clear to me. I know where I need to go and am satisfied as it has freed me up. I thank all who attended and for their reflection back. I has edified me in so many ways. Adelante! (forward march, for me). Many, many thanks.


Las Vegas Literary Salon is grateful for all the time writers and presenters put into their guest appearances. And, we deeply appreciate attendees who by their presence and participation make these events rich in content. As we look to in-person Salons, our goal will be to continue with original programming that will include readings by published authors, workshops, and round-table events on topics related to writing, publishing, and reading. Please follow this website to stay informed about planned Salons. Whether Zoom or in-person, Salon events will be held on the 4th Sunday of the month at 4 p.m., unless otherwise notified. Changes of time and venue will be advertised well in advance of events.

And, if you have a submission for Tapestry: Tales, Essays, Poems, the deadline has been extended to July 1. So, put your pen to page or fingers to keyboard and get that gem written and sent in! Click on the Tapestry tab in the menu for submission guidelines.

Carmen Baca – Guest Post

Thanks to Carmen Baca, for allowing LVLS to share her publishing experience and wisdom. Go to this link to learn more about Carmen’s published books and other writing.

Want to know how the publishing process works?

There are different methods, but this is the short version of my experience to give you an idea.

A novel inspired by a storied religious practice.

I always thought being a writer is a solitary endeavor. I write for 4-5 hours, 4-5 days a week, bringing worlds and characters and their stories to life. If I’m writing a short story, essay, or article, the writing sessions take anywhere from 2 hours to 3-4 days. I edit the piece to the best of my ability and submit to publishers of online literary magazines and anthologies directly. No one else sees my short works before those editors and publishers.

When I write books, it’s a solitary process for the two months it takes to get 68K to 78K words written to my satisfaction. Then comes the editing, going through the manuscript 5 times looking for specific issues, creating the glossary, making sure the bibliography’s accurate. That’s when the solitary situation changes.

Margaret Johnson, Mercedes Romero, and other volunteer beta and proofreaders get the manuscript next; they find the typos and the places I used the wrong words and sometimes the details in the wrong places, my most common errors. While they are doing their thing, I’m creating my cover art and the blurb which goes on the back of the book. At this point, I send the cover art to my cover artist and the blurb to Margaret and my publisher; they always make it better. That’s also when I work on the other pages: the dedication, acknowledgments, author’s note (if needed). Once Margaret, Mercedes, and the proofreaders finish, about a month later, I revise the manuscript with their corrections/recommendations. By that time, the cover is also ready. (Note: many publishers like my 1st one for El Hermano have their own cover artists. The folk artist worked with my input to create that cover.)

The manuscript goes to my publisher then, and he puts it in his queue where it waits in line for him to publish those works ahead of mine. The difference, which arises with a self-published book, is that instead of sending the book to a publisher, I upload the book and the front and back covers into a self-publishing site. I’ve only done that once, and the formatting took me four days. That book has no page numbers since I couldn’t figure out how to add them. Some self-published authors hire formatters to format their books, in addition to hiring their editor and cover artist.

In the meantime, I write up a press release about the book, send it to potential ARC (advance review copy) readers for editorial reviews. Those people agree to read the manuscript. Some of them write endorsements for the book, and all of them write their reviews to post on the day the book releases. The more reviews a book gets on Amazon, the more publicity Amazon gives it.

So, by the time the book reaches readers’ hands, at least ten other people have had their hands in assuring the book is as good as it can be. What begins as a solitary process turns into an assembly line of valuable people who all work toward one goal: publishing a book.

Making a book a success is something readers can help us do: write honest reviews on Amazon as a thank you to the author for those hours of entertainment and ask local bookstores to sell our books.

Carmen Baca, author
http://plu.us/cbacacreation


NEWS NOTES: Guest posts about writing and publishing are welcome. Send your query to lvliterarysalon@gmail.com. Our thanks to Carmen. Her words are motivating and inspiring. We invite writers and readers to engage with Las Vegas Literary Salon by attending our monthly Salons on the 4th Sunday, from 4-5 p.m. Our Sunday, March 28 Visit with author and satirist Jim Terr goes live at 4 p.m.

Las Vegas Literary Salon is seeking submissions for a collection entitled: Tapestry: Tales, Essays, Poetry. The target publication date is early to mid-November 2021. Submission Guidelines can be found by clicking TAPESTRY GUIDELINES in the menu above.