Charles Rafferty: Poetic Journey From Craft to Art

Charles Rafferty, poet

Award-winning poet Charles Rafferty has a new chapbook entitled Appetites with Clemson University Press. Head of the low-residency Master of Fine Arts program at Albertus Magnus College, and a consummate professional, Charles speaks candidly of diligence in the revision process and of patience — two nearly lost qualities, but essential for the journey from craft to art.

Appetites, poetry

AA: What was the inspiration for this book of poems?

CR: I don't think there was one particular inspiration. Some of the poems in this collection are more than 10 years old; others were written in the past year or so. I've been steadily working on them. I'm not someone who puts much stock in inspiration anyway. Yes, there are those moments when we're "hot," but most of the work in finishing a poem (at least for me) comes with revision — and the willingness to let poems sit around until the mistakes float to the surface. One of the oldest, "The Lesson of Less Light," was started from an "actual moment" back in 1988 or 1989. I generally don't write autobiographical poems, at least not explicitly, but this one did start that way. I couldn't get it to work though and put it aside until about 2003, at which time I started working on a cycle of "state poems" — one poem for every state in the country. This was my Oklahoma poem. Ultimately, though, that collection proved to be a bad idea, but I was able to salvage this poem from it.


AA: How did you select which poems to use?

CR: I basically tried to have each of the poems touch on the notion of appetite or desire. And many of these poems are persona poems or dramatic monologues. So they seemed to cohere together fairly well. It was really just a matter of me deciding that "Appetites" was a good title, and then spreading all of my poems on the basement floor. Then I put a check mark on anything that seemed to talk about appetite or desire. It was really just a matter of sifting.

AA: What was the biggest obstacle to completing the work?

CR: Having a life, I suppose.:-) It's just difficult to find time to write when I have a busy job and family life. I make a point of writing every day though — even if it's just for small amount of time. If I can finish a draft of something every day, I feel like I've done good. One of these poems — "The Man Explains His Sourvenirs" — started back in 1989 when I found an actual pig's tooth in the woods. It didn't exist as more than a handful of lines, though, none of which are still in the poem. Then, about five years ago, I was working on a cycle of poems based on the White Album by the Beatles. I resurrected this poem as the one that would make people think of Harrison's song "Piggies." Obviously, they have little in common, and the poem sequence was ultimately a terrible idea. But I got a few good poems out of it.

AA: What would you say is different about this compilation, compared with your past work?

CR: I'm struck by the similarities to my other work, rather than to the differences. My first book, The Man on the Tower, employed many similar techniques — persona poems, dramatic monologues, poems with speakers who are obviously flawed. The difference in this book, I suppose, is that the desire that drives them is more mature, and maybe more desperate.

Charles Rafferty heads the low-residency Master of Fine Arts program at Albertus Magnus College. He has authored four collections of poetry: The Man on the Tower (winner of the Arkansas Poetry Award), Where the Glories of April Lead, During the Beauty Shortage and A Less Fabulous Infinity. His poems have appeared in The Southern Review, TriQuarterly, Quarterly West, Poetry East, Connecticut Review, Massachusetts Review, and DoubleTake. His work also appeared in several anthologies, including Carnegie Mellon University Press: American Poetry: The Next Generation. He received the Robinson Jeffers Tor House Prize for Poetry, the Brodine/Brodinsky Poetry Prize, a grant from the Connecticut Commission on the Arts, and a grant from the National Endowment for the Arts. His "The Man Explains His Souvenirs," appeared in The New Yorker.     

Use the Principles of Journalism to Create Creative Nonfiction — and Fiction

Nonfiction techniques in fiction

Anyone who has studied journalism will recall that a good lead must include the five Ws and an H: who, what, where, when, why and how. One of my editors adds the caveat of a 35-word maximum. This approach to writing a first paragraph — and to creating or recreating an entire story — works for fiction forms, too. Before we study each letter in its turn, let's start with the lead.

Exercise: This lesson is best learned by doing, so start by selecting a nonfiction story you've written — one you especially like and have written recently — and edit the lead to conform to the journalistic style. If you're looking for ideas for new stories, scan your local newspaper (print sometimes works better), select a story that grabs you and follow the same steps.

Using the journalistic style to craft a first paragraph offers several benefits. It's an artistic approach to starting a work of creative nonfiction or fiction because it presents your entire work in microcosm. It also gives an editor reading your submission a sense of where the work is going, and what you may be able to do with it.

For examples of successful submissions using this technique, see Marco Polo Quarterly and Midway Journal.

Happy writing!

Begin Well, End Better: The Art of Crafting Beginnings and Endings

Start well

Appropriately, the last installment of the editor's revision checklist is on beginnings and endings. Here are considerations and questions to ask about these two crucial aspects of writing short and long fiction.

Beginnings now mean the first paragraph, maybe the first page, but not the first chapter. Beginnings must  engage readers in the first few lines. Does your first paragraph encapsulate your entire story or novel? Is it immediately engaging? Does the reader want to know more about your story and its characters? Is the promise made (and kept) that the piece is worth the reader's time and emotional investment?


Is the end of your story satisfying, possibly hoped for, but not anticipated, without being obvious? Do you tie up all loose ends, especially those that would leave readers feeling cheated if they're not addressed? Are your readers left wanting more, but not in a way that leaves them sensing that something's missing? Handled well, a good ending can open the door to more stories.

End better

As to a great beginning that ripples throughout a story to the end, author Pete Nelson (I Thought You Were Dead) has said that what you want an agent to do when she picks up your manuscript is to read the first line, pause as she puts on her coat, then read the second line, then ease her coat off as she continues reading, then sit back down — or put her coat on as she stuffs your manuscript into her bag to read over the weekend. Of course, closing this deal means following all the way through to a solid and satisfying ending.

Tips: Once you've finished editing your story and are ready to send it for publication, put the piece aside for at least a week. Then come back and reread the beginning — and the ending. Don't be afraid to revise both before sending. For the premiere blog on beginnings, by Peter Selgin, visit Your First Page. For general information on the topic, see "Five Fiction Mistakes That Spell Rejection." For more on endings, see "Endings."

For the full editor's checklist, see the Online Editing Workshop.

Happy writing! 

The Heart of the Matter: Writing to Theme and Emotional Truth

This installment of the editor's checklist for revising fiction comprises theme and emotional core. First, some definitions: Theme is the story's core topic, subject or concept, and emotional truth is an organic, gut-level connection between readers and the story.

While revising your work, ask yourself these questions about theme and emotional truth:

The heart of the matter?

• Theme: Can you describe in one sentence what your story is about? It's not easy to encapsulate your work this way, but it's important. A succinct description will help the decision-making process. For example, if you want to introduce, change or eliminate a character, you can ask yourself whether the result would support or detract from the aim of your work. This is a good question to ask in any writing dilemma.
• Emotional center or heart, emotional truth: A good question to ask here is whether the work as a whole engenders reader empathy. It's not just a question of whether readers will care about what you've written, but whether they would say, "What if this happened to me?"

For the full editor's checklist, see the Online Editing Workshop.

Tips: Describe your story in a 20-word sentence, or logline. For samples, visit ScriptShadow and Writers Store. Ask yourself whether your project creates distance or elicits empathy. Was this your intention? If not, would the work be better served by, for example, an empathetic villain? For an author whose fully developed characters aren't all good or all bad, see Dennis Lehane.

Happy writing!     

Do the Twist: Plots, Subplots and Story

Keep your main story in focus

The next installment of the editor's checklist for revising short and long fiction comprises plot, subplot and story. Here are questions to ask yourself while revising your work:

• Plot: Does your plot move forward at a good pace, and progress in a way that is satisfying, slowing for the important events, and picking up speed for the less important?
• Subplot(s): Even short fiction can have a subplot, but does the secondary story overshadow or confuse the main story? It should enhance it, either by contrast or comparison.
• Story: Is the story engaging, immediate, original?

This is definitely a distillation of how to approach plot, subplot and story, but the list gets at the heart of the issue. The key is to ask yourself these same questions throughout the revision process. Even if your plot or subplot yields some twists, following this principle will keep your focus on the straight and narrow and help you avoid the rabbit trails that dilute instead of enhance your story. For the full editor's checklist, see this month's Online Editing Workshop.

Tip: Make two columns: one for the main plot and one for the subplot (you can add a column for each subplot). In each column, list the main events, or plot points. Compare the columns to see whether the events in your subplot(s) garner more interest than those in your main plot. If they overshadow the main story, consider what your main story really is.

Happy writing!     

What's in a Word: Editor's Checklist for Short Fiction, Metaphor and Motif

Motif: The echo of an interesting character

The next items on our editor's checklist for revising short, or longer, fiction are metaphor and motif. We'll start with brief definitions, and provide questions to ask yourself while revising your work.

Metaphor: A metaphor uses an image, a story or an object to represent a less tangible object, quality or idea. For example, "Her eyes were glistening jewels." When revising your work, ask yourself whether your metaphors are original, well-placed and appropriate for your story's theme. The example here, albeit clichéd, would work well for a gemstone dealer describing a woman he loves, particularly in historical fiction and romance. A story about an artist would be better served by this: "Her eyes in the fading light were Prussian blue."

Motif: A motif is a recurring subject, theme, idea, object or concept that represents a deeper concept. Motifs, like metaphors, should be original, well-placed and appropriate for the story's theme. If, for example, your story is about a musician, you'll not only look for instances in the text that echo the subject of music, but also for objects or concepts that will evoke that theme throughout your work. For example, the curve of a woman's body can echo the treble clef of pitch, and vice versa.

The key to using metaphor and motif well is to know your story — and characters — well. This usually is more the case in draft two. Also, with both metaphor and motif, less (as in understatement), especially in literary fiction, is more.

For the full editor's checklist, see this month's Online Editing Workshop,

Tip: For best revision results, finish your story, then set it aside and work on something else. Distance improves perspective, and you'll more easily spot places in the work where you can exchange one metaphor or motif for a better one.

Happy writing!

Characters Welcome: Editor's Checklist for Revising Short Fiction

How will your characters change?

Before the month of love began, we had started reviewing the editor's checklist for revising short fiction. Today, we return to the list and address character development. Here are questions to ask yourself during the revision process.

Character Development and Arc:

• Does the main character change noticeably, albeit subtly, organically and believably?
• If the character doesn't change, is the reason for his stalled growth clear and understandable?

Characters (Primary):

• Are the primary characters original, believable and if not likeable, comprehensible?
• Are the primary characters' relationships with other characters clear and integral to the story?

Characters (Secondary):

• Do secondary characters stand in their own right, without overshadowing the story's main squeeze?
• Are secondary characters original, believable and if not likeable, comprehensible?
• Are their relationships with the main characters clear?

For the full checklist, see this month's Online Writing Workshop on my website.

Tip: For the best results in editing any story, regardless of length, follow these steps:

1. Set the work aside for at least a week.
2. Work on another writing project in the meantime.
3. Edit or critique someone else's work in the meantime.

Happy writing!