Most commonly, when someone learns that you are earning your degree in English, or have already earned your degree in English, they assume that you are either aiming to be the next James Patterson or a teacher. Sometimes this is actually the case, but not in every situation! If you are working towards an English degree, a degree in a similar field, or have already completed your degree, I would like to bring up the copywriting and copy editing fields for you to consider! If you are not already familiar with these careers, copywriters typically work closely with businesses or ad agencies to produce thoughtful and intriguing slogans, campaigns, and sometimes even emails to be sent out by the company. Copy editors can work with most any type of business, with their main focus being editing pre existing work to ensure that it is polished and ready to be consumed by a large scale audience. If either of these career fields pique your interest and you would like to browse open jobs in the aforementioned fields, consider opening the links listed below. Happy job hunting and best of luck!
It’s that time of the year again and submissions are flooding in! Students from all over the globe are sending in their creative pieces hoping for a chance to highlight their work. As the Blue Route’s mailbox starts bulking up, I wanted to take a brief chance to remind our readers of our guidelines. While we appreciate every single piece we receive, due to high number of submissions and hectic schedules, it does seem some contributors have blurred the lines of what the Blue Route accepts. As a reminder, if you are submitting poetry, you may have a total of 3 and no more! If you are submitting a prose piece, please make sure the maximum word count does NOT exceed 3000 words. The Blue Route loves to see the enthusiasm from so many different writers, but without adhering to our guidelines, it does hinder the publication’s ability to read and accurately judge every piece. When you can, please take a look over our guidelines; it means a lot. Happy contributing!
It’s that time of the year, and I’m not talking about the holidays. The Blue Route’s Fall 2021 Issue is now live! On behalf of myself and the whole staff, thank you to every incredible submission we received throughout the semester; we had so many engaging conversations regarding everything we read, and we wished we could have taken more work.
This time of the year can be chaotic, and we all easily get swept up in what’s going on around us. Literature provides that sweet escape, even if it is only for a brief moment, and that’s our intention for the work we publish.
We are beyond grateful for the eight pieces of creative fiction and poetry in Issue 26. The vulnerability and poignancy these authors displayed in their writing are amazing, and we hope you take time out of your hectic schedule to read their beautiful work!
This semester the English and Creative Writing department of Widener University got the opportunity to meet flash fiction writer Sherrie Flick. Editor of the Blue Route Stefan Cozza had the chance to interview her about her craft and works from one of her flash fiction collections~ Ciana Bowers
Interview with Sherrie Flick conducted by Stefan Cozza:
1.) For many, flash fiction is an intimidating genre to tackle. You have many in “Thank your Lucky Stars,” but there are also non-flash pieces of short fiction. What is the process going into writing a piece like “Open and Shut,” versus “Home,” and “Trees.” I am personally fascinated with how much can be said with as few words as possible. I love your narrative heavy pieces, but in a way, your short pieces evoke this mood and tone that I cannot shake. How do you differentiate whether a particular spot in the collection is better suited for a story with a clearer trajectory like “Lenny the Suit Man” versus a “7:23 p.m?”
a. “Open and Shut took years to draft, and it goes all the way back to 1997. It was consistently worked on, complicated, and layered with different characters. These stories drafted through exercises, constraints to write in small spaces be evocative with space and image. A lot of these micro pieces are crafted like a still life and they usually require less revision.
2.) This is very much in a similar vein to my previous question, but I find it relevant and intriguing, nonetheless. You have a few composite flashes in this collection, my personal favorite being “Garden Inside.” What makes a narrative suitable for this experimental form? How do you choose which specific scenes to depict that will add to the overall tone and trajectory?
a. Each section is its own contained story. You get a story putting them together, but each piece has the power to stand alone. They were originally written as part of a collaborative exhibition with the photographer Sue Abramson and displayed as text panels on the gallery walls. They were written with a slightly different purpose than flash fiction. My end goal is not always to connect the pieces. For “Garden Inside,”
I was heavily motivated by Abramson’s visual art and was challenged to put words to photographs.
b. Also, there was a revelation that came with learning about chapter breaks while writing my novel and the possibilities they offer. One minute you’re in one place and you turn the page, and the next you’re somewhere completely different. Transitional phrases are not as necessary in composite flashes. I treat the section breaks as punctuation.
I’ve written about the writers helping writers series before, Their collection of thesaurus help fiction writers and screenwriters Show not tell and help create rich stories and characters. Last month on October 12th their new thesaurus came out, The conflict thesaurus, any conflict you can think of is sure in this book, and if it’s not don’t worry volume two comes out next year in 2022. I enjoy having this book as it gives me many conflicts to choose from when going to write a quick story. This book not only gives you conflicts but possible outcomes, character emotions, and ways to develop characters through this conflict. I recommend this book as it also gives you several tips, tricks, and advice on conflict and worksheets to help with your stories.
This past weekend, the English and Creative Writing Department held their homecoming open mic, along with manning a tent at the homecoming tailgate. From 11-2 on Saturday, faculty from the English and Creative Writing departments, along with a few students, promoted the program through the use of interactive writing prompts. Alumni and community members sat down for a few minutes, picked a notecard with a particular prompt, and wrote whatever came to their heads. Later that evening, the department held their usual homecoming open mic. Since the pandemic, the open mics have been virtual, but that hasn’t stopped them from being engaging and fun events. To start the event, everyone was given a few writing prompts, similar to the ones earlier in the day, and allowed a few minutes to generate some writing. Some participants even read what they came up with. Students, along with alumni read some of their work, whether it be poetry or short fiction and got enthusiastic feedback from the audience. The event lasted well over an hour and the energy carried throughout. Despite being virtual, the success of another open mic in this format just proves the communal power of writing.
I immersed into the light afternoon traffic Sunday, September 19th, ready to be absorbed by the serene woods of Widener’s Taylor Arboretum, where Lovers and Madmen: the adaptation of Shakespeare’s Visions of a Midsummer Night’s Dream played; A production of Widener’s Lone Brick Theatre & Forgotten Lore Theatre, as part of 2021 Philly Fringe Festival. Once there, an “air spirit” led me to the scene. The sun beaming through the opening trees spot-lit Theseus, the Duke of Athens. Possessing his future bride from under her arms and knees, he upheld her, spinning for the round spectator view.
The young lovers chased and danced with one another, coming and going through the narrow paths between the woods. Swiftly I am pulled in to scene by the play producer and director himself, Peter Quince, filling in for Snug, the lion. Surprised, I may have tried to roar. The audience led by Fairies into different scenes, thus experiencing separate ongoing parts of the play, moving through the enchanted woods, often burst into laughs when the “ghostly” presence of Hermia running after Lysander and Helena after Demetrius and Demetrius after Hermia cut through the scenes with beaming screams: “Demetriuuuus!”, “Lysandeeeer!”,”Helenaaaa!”.
While woodland, Victorian, and contemporary costumes composed a lovely theme, the play within the play Peter Quince led followed a similar pattern. For example, between script and under-toned “out of script” remarks, about Theseus, in the closing scene directed to the audience: “What is wrong with this guy?” Quince’s character brought the contemporary spectator in, sparking a comedic blast throughout the play.
Nick Bottom steals the show ending with his passion-full interpretation and the tragically funny self-inflicted death, as Theseus dressed in a dark business suit *lols the play, within the play. The spectators love it! They laugh and whistle, filling the air with cheers. Fully immersed in the new Midsummer Night’s world, I applaud the amazing actors and producers of this memorable play, compete with colorful vibrations the leaves changing over a well-hidden water stream where perhaps Shakespeare’s spirit currents through Tayler Arboretum.
It’s always puzzling when looking back on how much time has passed, and this fall semester seems to be travelling at a lightning faced pace. With it, The Blue Route’s deadline for our Fall issue is rapidly approaching. We are still accepting submissions up until next Friday, so if you have not yet had a chance to share your creative work, consider choosing The Blue Route. Whether you are a first-time submitter, or are seasoned with the process, putting your work out there is not only a confidence booster, but an indicator of your progress over time. Everyone has the ability to produce magic on the page, and that magic has the potential to be appreciated and displayed to the greater literary community!
As creative writers and poets, our craft is constantly evolving and adapting to our development as scholars. Part of this is consistent practice and experimentation with new forms to challenge ourselves. With poetry, it can be all too easy to fall back on whatever mode the poet is most comfortable with, and while having a cushion to fall back on is convenient, it is not always effective. For my advanced poetry course, the class was assigned to read Natalie Diaz’s poetry book When my Brother was an Aztec, a beautifully intricate collection that really pushes the boundaries of narrative and lyrical poetry. Diaz experiments with a multitude of poetic modes, but one that really ignited a passion within me was “Abecedarian Requiring Further Examination of Anglikan Seraphym Subjugation of a Wild Indian Rezervation.” Don’t be dissuaded by the long title, the poem is utterly provocative and engaging. For those uninitiated, an abecedarian is a poetic form that utilizes every letter of the alphabet; the first letter of each line is to correspond with a respective letter. Additionally, the poem should incorporate an element that could be considered “otherworldly,” while still adhering to a casual diction. Diaz’s abecedarian uses the imagery of angels as her supernatural element, but her language is quite straightforward and the scenes she portrays are still easily identifiable and grounded in reality. Diaz perfectly balances the obscure and familiar and coats her language in a way that is still creatively stylized. The beauty of Diaz’s writing is aso effectively juxtaposed by the brutally honest subject material, much of which speaks on societal injustice. Any poet looking for an evocative writer who will bring out the best in their own efforts, look no further than Diaz and her collection, and consider creating your own version of an abecedarian. The end result of writing with constrained parameter may pleasantly surprise you!