Julia Copus shares insights and advice on getting your poetry published and tells her own personal story from first poem in print to published collections and beyond.
Poetic beginnings
Strictly speaking, I had my first poem published when I was seven. I’d sent it to a girls’ comic called Tammy, and because I’d forgotten to add my name, the acceptance letter was addressed to ‘Tammy Reader’ and very nearly got thrown away. Luckily, rather than putting the letter straight back in the post unopened and marked ‘return to sender’, my mother thought to ask me if I knew anyone of that name. With the £2 postal order they’d enclosed by way of payment, I bought a miniature Pippa doll in a sparkling green evening dress. I say it was lucky because I think encouragements of this kind are tremendously important and though I’d have to wait a long time to see my next poem in print, that early success planted in me the notion that such things were possible.
Throughout school, I loved writing, and filled my exercise books with stories of Alicelike adventures where no one was quite as they seemed and holes in tree roots provided portals into other worlds. I continued writing poems too, and reading a few – mainly classics – but it wasn’t until after university that poetry really clicked into place, like the bolt of a great door sliding open. My boyfriend had given me a copy of Sylvia Plath’s novel The Bell Jar (Heinemann 1963) to read. It was one of those books that left me wanting to know more about the author, so I got hold of a biography and read that too. Finally, I came to the poems. Here was much of the same material (The Bell Jar is largely autobiographical) but framed in such a way that the words – visceral and supercharged – left me changed; after looking up from Plath’s Collected Poems (Harper & Row 1981), the world seemed like a very different place. Mixed with inevitable admiration were feelings of envy and, beyond that, excitement. How had the poet pulled off this conjuring act? I wasn’t sure, but somewhere inside me I felt it was something I might be able to emulate.
I spent the next few months trying; you might even say I am trying still, though the traces of Plath – very evident in those early poems – are, I hope, no longer visible. Influences are a good thing and poets, like painters, sculptors and musicians, can learn a great deal from copying the old masters but, for readers, the appeal of poems written ‘in the style of...’ is limited.
Competitions and other submissions
When I had five or six poems to my name, I entered a local poetry competition, judged by the poet Michael Baldwin who had been friends with Ted Hughes, and I won third prize; I entered another and won first. These were small contests but the affirmation they provided for a novice was vital. I sent off to the Poetry Library in London for a list of magazines and started submitting poems to Envoi because it said it welcomed new, as well as established, poets. (The Library still publishes the most comprehensive list, now available online at www.poetrylibrary.org.uk/magazines).
I was careful from the start to follow the standard advice: never send more than six poems; always type the poems; include the briefest of covering letters plus return postage. Though my very first submission was rejected, the editor enclosed an enthusiastic note saying which poems he liked best, where he thought they might be improved, and asking me to send again. Soon, he was accepting my poems and I began sending elsewhere too.
Poetry magazines play a crucial role in the life of any poet, and in the early stages they can act as a barometer of our progress in general, and of the success of individual poems. Until we feel secure enough to allow a second reader into our confidence, we must act as our own readers, editors and critics. For the uncertain, fledgling poet, the impersonal process of submitting to magazines is a godsend: sending a poem out to an unknown editor often feels less daunting than sharing it with someone we know. Editors aren’t always right, but the chances are that if a poem is repeatedly rejected you need to work on it, or even start again from scratch. And if you can see beyond the disappointment, a rejection slip can be a useful ally, allowing you to gauge what does and does not work. It’s also true that not all rejection slips are the same: if yours is accompanied by an encouraging note – still better a request to ‘send more poems’ – don’t dismiss it. The editor in question has to like your poems a lot to make that kind of effort.
A year or so after I started sending work out to magazines, I read about an award exclusively for poets under 30, run by the Society of Authors. This was the Eric Gregory Award, which you can read about elsewhere in this book (see here). By now I had amassed 19 poems that I felt could stand on their own feet. I filled in the form and off they went in their manila envelope to London. Winning one of the five Eric Gregory Awards for that year was a real turning point for me, as it has been for so many poets – Seamus Heaney, Andrew Motion and Carol Ann Duffy among them, but many less well-known names too. I’d go as far as to say that some poetry publishers are on the lookout for the latest ‘Gregory winners’; there’s no question that the prize opens doors.
Do you need an agent?
People sometimes want to know if an agent will help them in their work as a poet. My answer is no – at least not until you are well established. Even then, while some renowned poets have agents, at least as many of them don’t. Remember that an agent will take a commission (generally 15% of everything you earn through your writing). I have now secured an agent, but not for my poetry. I was embarking on two new projects - a children’s book and a biography. In the case of the children’s book, I wanted someone to help me make sense of the contract I’d been offered and to make sure I was getting a fair deal; in the case of the biography – another field that was new to me -I felt an agent would have a better chance of placing the book in the first place, and would probably be able to secure me a better deal than I could get by myself. Though I’m very glad I found the agent I now have, she has little to do with securing me poetry readings and commissions; to be honest, I had managed perfectly well for 15 years as a published poet without any outside help.
One thing is certain: an agent is not needed to help you place a poetry book with a publisher.
Publishing your first book of poetry
So how do you go about publishing a book of poetry? When is the right time? And how big a body of work should you present?
It would certainly be unwise to submit a manuscript to a publisher without first having placed at least a handful of poems (and preferably more) in reputable literary magazines. If you’re able to tell a busy publisher that you have a good track record of magazine publication behind you, they are far more likely to take your manuscript seriously. Given that the average poetry collection contains around 56 pages of poetry, once you have, say, 40 poems together, and you are convinced of their quality, you might consider submitting your manuscript. Many publishers provide submission guidelines on their websites; in the first instance, they usually want to see a maximum of 15 poems (Faber asks for six; Bloodaxe ‘up to a dozen’). If they like those, they will soon ask to see more.
My own route to publication
What of my own story? When the time came, I (along with every poet I know of) went not through an agent but direct to a publisher – and in my case I took a less than conventional route. It is not a route I’d advise others to take, incidentally, but here’s how it happened...
After my early reading of Plath, I wanted to find out what poets had been up to in more recent years. The first contemporary poetry collection I read was Electroplating the Baby by Jo Shapcott (Bloodaxe Books 1988), which I’d found by chance in Maidstone Reference Library. I was very struck by the poems – surreal, engaging and disarmingly direct in tone. I was also quite taken by the eye-catching cover and started to look out for (and, crucially, read) other Bloodaxe titles in bookshops and libraries, as well as books by other publishers.
Soon afterwards I saw an advert in one of the poetry magazines for a competition that was being run by the Kitley Trust. I made up my mind to enter it – not for the prize money, which was £10 for each of the ten winning entries, but because it was being judged by Neil Astley, editor of Bloodaxe Books. I was lucky enough to win one of those prizes, and in due course I travelled up to the prize-giving in Sheffield. At the end of the afternoon, I’did something I now shudder to remember: I took a sheaf of 15 poems from my bag and asked Neil if he would read them on the train home. In my defence I can say that, as a shy 24-year-old, I was certainly acting more out of naivety than bravado.
Fortunately for me, the gamble paid off. I remember the moment when Neil Astley’s response arrived in the post. It came in a fat Jiffy® bag, postmarked ‘Hexham’. I knew by the thickness of the envelope that it wasn’t a rejection slip, and ripped it open so fast I cut my thumb on one of the staples. I still have the original letter, complete with its smeared insignia of blood. It says, ‘Thank you for leaving me with a sample selection. I was very impressed. Can you send more? The letter goes on to stress that it would be in my best interests not to publish a book prematurely but to wait until I had ‘a consistently strong volume of work’. Sound advice – and over the following year or so I continued publishing in magazines and occasionally sending bundles of poems off to the Bloodaxe offices. The book began to take shape and before I knew it I was at the stage of choosing an image for the cover.
What comes next? Opportunities and possibilities
Perhaps it sounds strange but, for me, holding a book with my name on the cover was not the thrill you might expect. I think that is as it should be. If your overriding ambition is ‘to be a published poet’, it’s unlikely you will ever write really good poems. For one thing, having a book published means that you are no longer anonymous, and for a writer there is great power and freedom in anonymity. Still, I am enormously grateful.
Rather like one of those magical portals I wrote about at primary school, my first book opened up for me a world of new experiences and also professional possibilities: residencies, fellowships, commissions, teaching. In addition, it led to my writing in more forms than I might otherwise have tried. I have gone on to write essays, reviews, radio programmes, children’s books – even a pocket writing guide. This is not unusual. Once you have a book published, it is far easier to publish another; it is up to you, then, which direction you want to go in. Poets are, I think, at an advantage here. I know of several who have gone on to be first-class prose writers – novelists, short story writers, essayists – and for a few, they find that the new genre suits them better. It is certainly likely to be more lucrative: most poetry books do not sell in vast quantities. Partly for economic reasons, my own writing has followed several tributaries; even so, the source has always been poetry.
Julia Copus is a poet and children’s author. She has published three collections of poetry, The Shuttered Eye (Bloodaxe 1995), In Defence of Adultery (Bloodaxe 2003) and The World’s Two Smallest Humans (Faber & Faber 2012); all three are Poetry Book Society Recommendations. Her awards include First Prize in the National Poetry Competition and the Forward Prize for Best Single Poem (2010). She has written four picture books for children, including The Shrew That Flew (2016) and My Bed is an Air Balloon (2018), both published by Faber & Faber.
See also...
• Getting your poetry out there, here
• Poetry organisations, here
• Notes from a passionate poet, here
Andrew McMillan knows that poetry is a state of mind and being, a full-time commitment, and has practical advice for would-be poets looking to find their own voice and a path to publication.
The most important thing is to choose exactly the right size of beret to accommodate the shape of your head; everything else will hinge on this first decision.
OK, don’t worry, this article will contain much more practical help (hopefully) than that first sentence, though it strikes me that, even in the writing of it, I was doing what one of the key processes of being a poet is: paying attention to the rhythm and feel of language as it is spoken out loud. Originally, my jokey opening line read ‘...exactly the right shape of beret to accommodate the size of your head’. That didn’t quite work, for reasons I can’t quite put my finger on. There’s a nicer echo between ‘right’ and ‘size’; also, ‘shape’ and ‘head’ feel more companionable than ‘size’ and ‘head’ which – perhaps because of that ‘z’ sound and the ‘d’ – just don’t sit well together.
Paying attention to language, then, but also to the world – that’s really the only trick to master. Poetry is a state of mind rather than a vocation (disclaimer: it’s also impossible to write about it without straying into the realms of vaguely pretentious cliché). Being a poet isn’t something you can really sit down at the desk and just ‘do’, in the same way that you might sit down and turn out 500 more words of your novel. It’s not about the fancy notebook that cost £15 that’s too nice to ever write in; it’s not about berets or fashion choices, or the perfect desk space; it’s a mode of being in the world.
I’ve always thought that if a choreographer witnessed a fight in a bar, they’d probably see it as different dance moves; they’d focus on the movements and the arc of a particular uppercut swing. It’s the same with poetry – it’s a way of inhabiting every moment, looking at things a certain way, seeing how a certain small thing might speak to something wider. If you’re a student studying on a course or at a university, you can’t just be a poet for the two or three hours you’re in class that day; it has to be a full-time commitment.
Perhaps I’m getting ahead of myself though. The first step towards becoming a poet must be to read poetry. Read as much of it as you can. It’s a cliche by now, but it certainly has some truth to it, that if everyone who was writing poetry was also actively buying it, then all poets would be millionaires. We all come to writing because we were readers first, and that’s always important to remember. Every so often I encounter someone who repeats the mantra, ‘I don’t read other people’s work because I’don’t want to be influenced.’ That is basically the same thing as saying, ‘I want to be a tennis player, but I’don’t think I should ever watch a tennis match. It would distract me from my own training to become Wimbledon Champion.’
Obviously, we read poetry because we love poetry and it’s the thing that sustains us through our lives, but we also read to see what other people are managing to do with the page, with language, with rhythm, with rhyme, with ideas. So, the first step is to read as much as you can get your hands on. Read widely, from the so-called ‘mainstream’ across to the avant-garde; read things from the past and read a lot of contemporary poetry. That way you’ll get a sense of the lie of the land, too; you’ll see which publishers publish which type of work, which publishers are the ones who always seem to be publishing the poets you’re really drawn to.
Don’t be afraid of reading things you don’t like as well ... spend some time with your discomfort and your displeasure. Why is it you don’t like this book? What could it have done differently? What does it make you want to do differently in your own practice? Reading in this way is how we come to find our own ‘voice’ in poetry. At first you’ll wear your influences heavily, but then they will start to become simply your own voice, like the finished soup that is boiling in the pot, made up of all the different ingredients that have been flung in.
Getting published
So ... you’re reading lots, you’re beginning to get a handle on what the world of poetry looks like out there, but it probably still feels impossibly far off. You’ve got your sheaf of poems, sitting on your desk or on the dining table or in your bottom drawer, and you think you’re ready to start sending them off. There is no fixed trajectory for a poet in terms of how it’s best to do things, but the perceived wisdom would be that a typical path might be:
Single poems in magazines/competitions → pamphlet → first full collection.
I’ve oversimplified that wildly, so I’ll spend some time now unpacking each of those.
Poetry magazines are really the coalface of poetry; they’re where the really new work is published, and a great way for new poets to begin to get their name out there. They might not have vast readerships, but people do read them and if your name starts turning up on the pages of different ones people will begin to recognize you, and that’s how you begin to build a reputation.
There’s a huge variety of poetry magazines out there, all of which cater to a different sort of work: new modernism, accessible, experimental (see Poetry magazines here). Spend some time with the magazines (libraries, particularly dedicated poetry libraries or university campus libraries, will often stock them). Try and compare your work to the work you’re seeing published on their pages, not in terms of quality but in terms of style. There’s no point in sending your highly experimental language-breaking poetry to the magazine that likes accessible, anecdotal, 20-line poems, but there will be a magazine out there that suits you much more. When you’ve found one that does, check the submission guidelines, and send off your work. If the work’s accepted, there’ll be a few months’ wait until it appears, but that thrill of your first poem in print is one that never goes away. If you do get published and the magazine offers you the chance to read at a launch event, or simply invites you there, do go if you can find any way of doing so. That experience of meeting the editors, or possibly even reading, is vital.
Once you’ve done a few years of that kind of thing, you might have a smallish stack of poems that you think is ready for the world;. this is when you’d begin to think about publishing a pamphlet, almost like the EP before the full album. Pamphlets are great as a testing ground for your work; they carry much less weight than a full first collection, and I think of them almost like a business card that you can hand out (or hopefully sell) or send on to the people you’re hoping to impress.
Then, far off in the distance, is that first collection, but we probably don’t need to worry about that... yet. Except to say that it can and will happen, and it will be the most thrilling feeling in the world when you first open the box that contains the books.
I’m saying all this because it’s the process I went through myself. When I was still an undergraduate I sent off a couple of my poems to a magazine called The North and, by some sort of beginner’s fluke, they got accepted ... and I thought I’d made it! Of course, what followed were loads and loads of rejections, which if compiled would probably make a volume as thick as this yearbook you’re holding. But eventually, I’did have enough poems for a pamphlet.
A new pamphlet prize called the Michael Marks Award had just started, and so I looked at a list of the pamphlet publishers who had submitted to it. I found one that seemed as though it would like the sort of stuff I was writing, Red Squirrel Press, and sent an email followed by lots of work to them. They accepted a first pamphlet, which came out in 2009, and then published a second in 2011, and then a third in 2013.
Finally, I felt I was ready for a first collection, and I looked around at the books on my shelves and asked myself whose list would I’dream of being on. I wanted to try it; if I failed, I’d work my way down my imaginary list. I chose Jonathan Cape, and was lucky enough to get taken on.
It all started with that love of poetry, staying up too late reading poets, and repeating lines or phrases back to myself as I walked around the house. I knew I wanted, in however small a way, to be a part of that conversation, and that’s why I wanted to become a poet. Hopefully that’s why you do, as well.
Andrew McMillan’s debut collection, physical (Jonathan Cape 2015), was the first ever poetry collection to win the Guardian First Book Award. It also won the Fenton Aldeburgh First Collection Prize, a Somerset Maugham Award (2016), an Eric Gregory Award (2016) and was shortlisted for the 2015 Costa Poetry Prize and the 2015 Forward Prize for Best First Collection. His second collection, playtime, will be published by Jonathan Cape in August 2018. Andrew is senior lecturer at the Manchester Writing School at MMU and lives in Manchester. For more information see www.andrewmcmillanpoet.co.uk.
See also...
• Becoming a published poet, here
• Notes from a passionate poet, here
• Getting your poetry out there, here
Benjamin Zephaniah describes his route to being published.
‘How did you first get published?’ and ‘Can you give me any advice on getting published?’ must be the two questions I am most regularly asked as I go poeting around this planet. And what really gets me is that for most of my poetic life I have found them so hard to answer without doing a long talk on race and culture, and giving a lesson on the oral traditions of the Caribbean and Africa. I’m trying hard not to do that now but I have to acknowledge that I’do come out of the oral tradition and to some extent I am still very much part of the Jamaican branch of that tradition, which has now established itself in Britain. In reality, getting published wasn’t that hard for me: I came to the page from the stage. I’didn’t wake up one day and decide to join the oral tradition, I simply started performing in churches and community centres, on street corners and at political rallies, and I really didn’t care about being published in books – I used to say I just want to be published in people’s hearts. Now I’don’t want to sound like a royal seeking sympathy or a surgeon evaluating her or his work, I just feel there’s something very special about hearing people recite a poem of yours back to you when you know that it has never been written down: it means that they must have heard me recite the poem and it had such an impact on them that it left an impression on their minds – but I say hearts because it sounds more sensitive.
Someone with a PhD once told me that the most important thing I could do was to get published, so for what seemed like an eternity (in fact it was just a couple of months) I became the most depressed kid on the block as the rejections flooded in, and I took each rejection very personally. I soon stopped punishing myself and went back to performing. Within the black and Asian communities there was a large network of venues to perform in and I was happy there, performing for ‘my people’. But it wasn’t long before I started to make a bit of a name for myself in what we now call the mainstream, and then the publishers came running back to me, many of them apologising and saying that the person who sent the rejection letter to me had now moved on and they weren’t very good anyway. I’didn’t blame the publishers; I wasn’t angry with them. It was a time when the British publishing industry simply didn’t understand Reggae and Dub poetry, and the performance scene as we know it today had hardly taken root. It’s not practical to advise all budding poets to go down the route that I chose. Some poets simply don’t want to perform whilst others want something published before they take to the stage – they literally want something to cling to as they recite – but I have to say there is nothing like looking your audience in the face and delivering your work to them in person.
I used to be able to give a run-down of the poetry publishing and performance scene in Britain in about 30 minutes, but not any longer, with the internet and all that, the universe has changed. Not only are there hundreds of ways to get your poetry published, you can now publish your performance and have a worldwide hit without ever actually having a book or leaving your bedroom. You don’t even have to tread the boards to become a performance poet. The choice is now yours: you can be a Dub poet, a pub poet, a cyber poet, a graffiti poet, a rap poet, a naked poet, a space poet, a Myspace poet, or a street poet. You can be a geek poet, a YouTube poet, an underground poet, a Facebook poet, a sound poet, and if you like to keep it short you can be a Twitter poet. You can go any way you want, but you must never forget to be a poet. You must never forget why you started writing (or performing) and you must love your art. The love I had for words as a baby has never left me, and when I was getting all those rejection letters and feeling so unwanted, my love for poetry never waned.
And another thing: read poetry. Many people tell me that they love poetry but after a minute or so of investigation I find that they only love their own poetry, and in many cases they only understand their own poetry. You can get a lot of help from teachers or in workshops, but reading other people’s poetry is the best way of understanding poetry, it is the best way of getting into the minds of other poets. This great book that you now have in your hands and learned people who understand the industry are able to give you much better advice on getting published than I can, and if you do get published your publisher or agent should be offering you all the practical help you need. But you have to have the passion, you have to have the inspiration, you have to be a poet. Stay true.
Benjamin Zephaniah has been performing poetry since he was 11 years old. He has also written 13 books of poetry, four novels, and recorded six music CD albums. He spends much of his time encouraging young people to write and perform poetry and has received 16 honorary doctorates in recognition of his work. His latest releases are a martial arts travelogue called Kung Fu Trip (Bloomsbury 2011), To Do Wid Me,a book and DVD of live performances (Bloodaxe Books 2013) and Terror Kid (Hot Key Books 2014). The Life and Rhymes of Benjamin Zephaniah: The Autobiography was published in May 2018 by Simon & Schuster UK. He is currently Professor of Poetry and Creative Writing at Brunel University. His website is www.benjaminzephaniah.com.
Neil Astley knows that you need talent, passion, patience and dedication to become a published poet. He gives valuable advice on the possibilities, pitfalls and rewards that any budding poet might encounter.
Are you a poet – yet?
This article assumes that you have a potential readership or audience for your poetry, and that where you need guidance is in how to reach all those readers. But most poets just starting out believe that. There is, however, no readership for poets who think they are ready to publish but whose work isn’t really there yet. If you’ve not immersed yourself in poetry for years – which involves intensive reading and absorbing poetry from all periods – to think of yourself as a poet is self-delusion. No one will want to read you, and your attempts to get your work out there will be met with rejection, frustration and disappointment – and self-righteous indignation if you’re one of those would-be writers who think they’re geniuses waiting to be discovered. People either have talent or they don’t, and no amount of self-promotion and or even education in the way of poetry workshops or MA courses will make you a poet if you don’t have an insatiable passion for reading poetry (not just your own) and an original way of writing it. But if you’ve been drawn to poetry, and have read as much poetry as you can get hold of, I’d say you’re halfway there.
A poet’s reading list
One of the poets I publish, Hannah Lowe, was an English teacher who’d always loved poetry but wasn’t familiar with the full range of contemporary poetry until her mother gave her a copy of the Bloodaxe anthology Staying Alive as a birthday present. That book made her think that she could write poetry. With other younger poets writing now, the process has often been the other way round; may be they’ve read Simon Armitage, Carol Ann Duffy, Seamus Heaney and Philip Larkin, but they haven’t read their Shakespeare, Donne, Keats, Wordsworth, Coleridge, Browning, Dickinson, Frost, Yeats, Auden and Eliot, all essential reading for anyone who wants to write poetry.
Without that groundwork reading, your own work will go nowhere. But all is not lost. If you really do have a gift for poetry, but life circumstances have been such as to make your reading patchy, stop thinking of getting your work out there now, and for the next year, just read and reread judiciously without thinking of writing. Start with the Norton Anthology of Poetry (W.W. Norton 1970, 5th edn 2005) and the Penguin Book of English Verse (Penguin 1956, new edn 2004), and get hold of books by the major figures they include; then The Rattle Bag (Faber & Faber 1982, 2005), Emergency Kit (Faber & Faber 2004) and the Staying Alive trilogy (Bloodaxe Books 2002, 2004, 2011) and read more by the poets who most appeal to you. When you come back to writing, a year or more later, both you and your poetry will have changed. The poems you had wanted to get out there earlier will go in the bin, and you’ll be writing poetry that should interest other readers.
Getting critical feedback
Next you need feedback. If you can find a good writing group or workshop in your area, that can be helpful. Even if you disagree with other people’s comments on your work, their feedback should still show what aspects of your poems don’t work for other readers. Later, once you’ve been working on your poetry for at least a year or two, it would be helpful to go on one of the writing courses (which are more week-long workshops than taught courses as such) run by the Arvon Foundation at three centres in England, or by Tŷ Newydd in Wales or Moniack Mhor in Scotland. Or contact the Poetry School in London (www.poetryschool.com) which offers online tuition, downloads, workshops and summer schools. There are also part-time MA courses run by numerous universities and colleges throughout Britain, but I’don’t think those are right for relative beginners; to gain full benefit from such courses (which cost thousands of pounds in fees) I think you need to have been writing seriously for at least five years. (See here for a list.)
You can also start sending out poems to magazines; their websites will say whether you should submit online or if you need to send half a dozen poems with a stamped addressed envelope for their possible return. It won’t be hard to get poems taken by the smallest of the magazines. The real challenge will be in sending work to the long-standing, leading poetry or literary magazines edited by significant poets or critics. These might include Acumen, Agenda, Ambit, The Dark Horse, Envoi, Iota, The London Magazine, Magma, The North, Orbis, PN Review, Poetry London, The Poetry Review, Poetry Wales or The Rialto. There are also literary and cultural journals that publish poems, but these are much harder for new writers to break into, such as the London Review of Books and the Times Literary Supplement; somewhat perversely, you may find you have more luck with the political press: the Morning Star, New Statesman and the Spectator all publish newcomers as well as established poets. The fiction quarterly Granta was starting to publish poems but had to block further submissions for a year ‘due to the unprecedented volume of poetry submissions received’ (a salutary lesson there: there are thousands of poets trying to get their work out there).
Poetry magazines
Acumen
See here
Agenda
See here
Ambit
See here
The Dark Horse
Envoi
See here
Iota
The London Magazine
See here
Magma
See here
The North
www.poetrybusiness.co.uk/north-menu
PN Review
See here
Poetry London
See here
The Poetry Review
See here
Poetry Wales
See here
The Rialto
See here
For a fuller list see http://www.bloodaxebooks.com/links
See also Magazines UK and Ireland starting here and Poetry organisations here.
Just as important as getting poems accepted is getting them rejected, especially if that includes getting a note back from an editor with a comment on your submission that makes something click. You may think that what you’re writing now is great, but there will be flaws. There are always improvements that can be made that make all the difference between a half good poem and a really good one. Poets judging poetry competitions talk about ‘the wrong note’, a line or phrase in a poem that sticks out as not belonging there or needing to be changed even with just one word added or a phrase taken out, and they can’t give the prize to that poem because readers will see it too, but the poet is too close to the work and isn’t aware of it.
To submit or not to submit?
So the first lesson in how to get your poetry out there is not to send it out, or not yet. Put it in a drawer for six months and come back to it; with that amount of distance from the work, you should be able to fix that ‘wrong note’ and also make the whole poem read more smoothly. Also – and this is absolutely essential – read the poem aloud. As you’re writing it, and when you think you’ve finished it, and when you come back to it months later. Again, poets who haven’t done this all talk about only realising what doesn’t work in a poem when they were reading it aloud to an audience; trying not to let their expression show that they’ve just read a bum line at the live event, but rushing home afterwards to correct it. And if you do all your writing on a computer, print out your poems, and read through and edit them on paper. What may look right on a computer screen will often not feel right on paper, and then you’ll see what needs to be edited. This is also where magazine rejections are helpful: six months later, going back to the poem you thought was your best but which kept being returned, you see the ‘wrong note’, fix the problem, send it out, and the poem is taken right away.
Don’t submit to magazines unless you’re familiar with the kind of work each one publishes. They are all different, and you will not be able to publish much unless you research the field and send to those whose output you like and respect. If you live in or can get to London or Edinburgh, spend a day in the Saison Poetry Library at the Southbank Centre or the Scottish Poetry Library (there’s also the Northern Poetry Library in Morpeth, Northumberland) and read the latest issues of the current magazines, and afterwards take out subscriptions to those you like most. Familiarity with the work of other poets is an important part of that process: if you’re expecting others to read your work, you should read theirs too and learn from it; and support the magazines which support you. Join the Poetry Society and you’ll receive The Poetry Review and Poetry News every quarter; join the Poetry Book Society and you’ll receive their four Choices over the course of the year with the PBS Bulletin (including highly illuminating pieces by the poets about their books). The Saison Poetry Library also has two websites, www.poetrylibrary.org.uk, which includes listings of all the current print and online magazines, and http://poetrymagazines.org.uk, which has an archive covering many of the leading journals where you can read their back issues.
You can familiarise yourself with the editorial taste of online magazines much more easily. Some magazines publish both print and online editions, while others that started out as print have gone over completely to online publication. But so much poetry is published online now – and online imprints come and go – that readers and writers alike find it hard to see the wood for the trees, an appropriate metaphor to use here given that the cost and labour involved in printing and distributing magazines used to discourage poorly edited publications from flourishing. For a list of significant webzines which currently publish poetry (see box). These are the webzines (some quite new, not all exclusively poetry) picked out by poets I’ve consulted as the places where they’d most like to see their work, and where the younger poets in particular go to read their peers. It’s worth adding that they also want their work to be featured or discussed in several webzines which don’t take submissions, notably Prac Crit (www.praccrit.com), The Quietus (http://thequie-tus.com), Sabotage Reviews (http://sabotagereviews.com) and Wild Court (http://wild-court.co.uk). And the ultimate accolade is getting your poems into America’s Poetry magazine, with all the work it publishes being added to an historic online archive that goes back to 1912. The recently established reciprocal publication by Poetry and The Poetry Review of selections by US and UK poets has helped make this less of a pipe dream for British poets.
Popular webzines
And Other Poems
Clinic
The Compass
Ink Sweat and Tears
Likestarlings
The London Grip
The Manchester Review
Molly Bloom
https://mollybloompoetry.weebly.com
The Open Mouse
https://theopenmouse.wordpress.com
The Poetry Shed
https://abegailmorley.wordpress.com
Stride
http://stridemagazine.blogspot.co.uk
Three Drops from a Cauldron
https://threedropspoetry.co.uk
The White Review
Get noticed through competitions and performance
Building up a coherent body of work can take years. As your work matures, so your confidence grows, and you start getting more and more poems taken by magazines and perhaps win prizes in poetry competitions. And some of the poetry competitions are worth trying, but as with the magazines, don’t submit blindly, do your research. Just as you can almost predict which poets will win each year’s poetry prizes from who the judges are, or what kind of work the combination of judges on each prize’s judging panel is likely to favour, so it is with the poetry competitions. And the timing of their deadlines is such that you can’t usually submit the same poems to more than one of the main poetry competitions in any one year. So check out the main competitions and submit to those judged by the poets you admire. As well as the Poetry Society’s National Poetry Competition, these might include the Basil Bunting, Bridport, Bristol, Cardiff, Cheltenham, Ledbury, Manchester, Mslexia (women only) and Poetry London competitions. (See Competitions here under Poetry organisations.)
The recent growth of festivals and venues with open mic slots has given new writers opportunities to read their work in public; and you don’t have to be a performance poet for your work to go down well with audiences, you just have to read strong work and read it well. Don’t overrun your time slot and give a straightforward presentation of your work, which means a short introduction only, use your ‘natural’ voice and don’t adopt the highly mannered whining delivery style favoured by poets who should know better.
Once you’ve published widely in magazines and are starting to do readings, you’ll be at the stage of seeking out a small press willing to publish a pamphlet or chapbook (15 to 20 poems). Most pamphlets are sold at readings, and having a pamphlet to give to organisers and to sell at events can lead to more opportunities to read your work. And finally – we’re talking about years now – you might have a book-length manuscript (= typescript) of around 50 poems which you think worthy of publication. But the chances of having this taken up by one of the ‘big six’ leading poetry imprints (Bloodaxe, Cape, Carcanet, Chatto, Faber, Picador) are exceedingly slim. Apart from Picador, which doesn’t consider unsolicited submissions, we all receive thousands of submissions every year, but the annual output of first collections from all six imprints is rarely more than a dozen books in total. Much wiser to try the smaller poetry presses you’ll find listed in this Yearbook, and you won’t need an agent to do this. The only poets with agents are writers who are also novelists, journalists or playwrights. Don’t think of ebooks as any kind of solution. Ebooks don’t give poets the massive readership reached by writers of thrillers or romance, amounting to just 4% of total poetry sales.
Poetry publishers
THE BIG SIX
Bloodaxe Books
See here
Jonathan Cape
See here
Carcanet
See here
Chatto & Windus
See here
Faber and Faber
See here
Picador
See here
SMALLER PRESSES
Arc Publications
See here
Cinnamon Press
Dedalus Press
(Ireland)
The Emma Press
Eyewear Publishing
https://store.eyewearpublishing.com
The Gallery Press
(Ireland) See here
Happenstance
Knives Forks and Spoons Press
www.knivesforksandspoonspress.co.uk
Nine Arches Press
Peepal Tree Press
(Black British & Caribbean)
Penned in the Margins
Salmon Poetry
(Ireland)
Seren
See here
Shearsman Books
See here
Shoestring Press
Smith/Doorstop Books
www.poetrybusiness.co.uk/smith-doorstop
Smokestack Books
Templar Poetry
Valley Press
The Waywiser Press
For a fuller list of poetry publishers visit
Poets, beware!
Finally, a word of warning. There are certain firms which charge poets to publish their work or which require payment for copies of anthologies in which your work appears as a condition of publication. Poets starting out are particularly susceptible to what is known as vanity publishing. Reputable publishers or magazines of any size will pay authors for their work, usually with royalties in the case of books. If you are asked to pay for the production of your book by a publisher who sends you a flattering ‘reader’s report’ on your work, try asking a local printer to give you an estimate for printing a few hundred copies of your book. The likelihood is that the cost will be considerably lower, and if you want your work to be read by friends, colleagues and people in your local community, the circulation you can achieve by this DIY method will be more effective. The normal arrangements for publishing also involve the author receiving complimentary copies of a book or a free contributor’s copy of a magazine or anthology. If you’re asked to pay to see your own work in print, you are paying to have it published. For more information see the website Vanity Publishing (www.vanitypublishing.info) and also the advice offered by the Society of Authors (www.societyofauthors.org/SOA/MediaLibrary/SOAWebsite/Guides/Vanity-Publishing.pdf).
If you’re unable to get your book published but are confident of selling enough copies at readings, there are effective ways of self-publication covered by other articles in the Writers’ & Artists’ Yearbook. As an alternative to local printers, a number of poets use the self-publishing website www.lulu.com which offers a distribution channel as well as well-produced books and ebooks.
Neil Astley is the editor of Bloodaxe Books, which he founded in 1978. His books include novels, poetry collections and anthologies, most notably the Bloodaxe Staying Alive trilogy: Staying Alive (2002), Being Alive (2004) and Being Human (2011); and three collaborations with Pamela Robertson-Pearce, Soul Food: nourishing poems for starved minds (2008), and the DVD-books In Person: 30 Poets (2008) and In Person: World Poets (2017). He has published two novels, The End of My Tether (Scribner 2002), which was shortlisted for the Whitbread First Novel Award, and The Sheep Who Changed the World (Flambard Press 2005).
See also...
• Becoming a published poet, here
• Notes from a passionate poet, here
• What do self-publishing providers offer?, here
Below are some organisations which provide budding poets with opportunities to explore, extend and share their work.
WHERE TO GET INVOLVED
A range of organisations – from local groups to larger professional bodies – exists at which emerging and established poets can access support or learn more about others’ work. A concise selection appears below.
The British Haiku Society
79 Westbury Road, Barking, Essex IG11 7PL
email membership@britishhaikusociety.org.uk
website www.britishhaikusociety.org.uk
Pioneers the appreciation and writing of haiku in the UK, publishes books concerning haiku and related matters, and is active in promoting the teaching of haiku in schools and colleges. Publishes a quarterly journal, Blithe Spirit, an annual members’ anthology, and a newsletter. Also runs the prestigious annual British Haiku Society Awards in three categories: haiku, tanka, and haibun. Registered charity. Founded 1990.
Literature Wales
(formerly Academi)
Glyn Jones Centre, Wales Millennium Centre, Bute Place, Cardiff CF10 5AL
tel 029-2047 2266
email post@literaturewales.org
website www.literaturewales.org
Company for the development of literature in Wales. Working collaboratively, bilingually, and in a wide range of communities, Literature Wales ensures that literature is a voice for all. The organisation’s many projects and activities include Wales Book of the Year, the National Poet of Wales, Bardd Plant Cymru and Young People’s Laureate Wales, Literary Tourism initiatives, Writers on Tour funding scheme, creative writing courses at Tŷ Newydd Writing Centre, Services for Writers (including bursaries and mentoring) and Young People’s Writing Squads. Literature Wales is a registered charity (no. 1146560) and works with the support of the Arts Council of Wales and the Welsh Government.
The Poetry Book Society
c/o Inpress Ltd, Churchill House, 12 Mosley Street, Newcastle upon Tyne, NE1 1DE
tel 0191 230 8100
email pbs@inpressbooks.co.uk
website www.poetrybooks.co.uk
Facebook www.facebook.com/poetrybooksoc
Twitter @poetrybooksoc
Book club for readers of poetry founded in 1953 by T.S. Eliot. Every quarter, selectors choose one outstanding publication (the PBS Choice), and recommend four other titles; these are sent to members, who are also offered substantial discounts on other poetry books. The PBS also produces the recently redesigned quarterly membership magazine, the Bulletin (available to full members), which contains the Poet Selectors’ reviews of the Choice and Recommendations and the selected poets’ comments on their own work.
The Poetry Business
Campo House, 54 Campo Lane, Sheffield S1 2EG
tel 0114 438 4074
email office@poetrybusiness.co.uk
website www.poetrybusiness.co.uk
Publishes books, pamphlets and audio under its Smith/Doorstop imprint; runs the literary magazine, The North. Also organises a national competition, Writing Days, the Writing School and residential courses.
Poetry Ireland
11 Parnell Square East, Dublin D01 ND60, Republic of Ireland
tel +353 (0)1 6789815
email info@poetryireland.ie
website www.poetryireland.ie
Organisation committed to achieving excellence in the reading, writing and performance of poetry throughout the island of Ireland. Poetry Ireland receives support from The Arts Council /An Chomhairle Ealaíon and The Arts Council of Northern Ireland and enjoys partnerships with arts centres, festivals, schools, colleges and bookshops at home and abroad. Its commitment to creating performance and publication opportunities for poets at all stages of their careers helps ensure that the best work is made available to the widest possible audience. Poetry Ireland publishes the well-regarded poetry journal, Poetry Ireland Review.
The Poetry Society
22 Betterton Street, London WC2H 9BX
tel 020-7420 9880
email info@poetrysociety.org.uk
website www.poetrysociety.org.uk
A leading voice for poets and poetry in Britain. Founded in 1909 to promote a more general recognition and appreciation of poetry, the Society has more than 3,000 members. With education initiatives, commissioning and publishing programmes, and a calendar of performances, readings and competitions, the Society champions poetry in its many forms.
The Society offers advice and information to all, with exclusive offers and discounts available to members. Every quarter, members receive copies of The Poetry Review and the Society’s newsletter, Poetry News. The Society also publishes education resources; organises events including an Annual Lecture and National Poetry Day celebrations; runs Poetry Prescription, a critical appraisal service available to members for £40 and non-members for £50; and provides an education advisory and training service, as well as school and youth memberships.
A diverse range of events and readings takes place at the Poetry Cafe beneath the Society’s headquarters in London’s Covent Garden. The Society also programmes events and readings throughout the UK.
Competitions run by the Society include the annual National Poetry Competition, with a first prize of £5,000; the biennial Popescu European Poetry Translation Prize; the Ted Hughes Award for New Work in Poetry; SLAMbassadors UK; and the Foyle Young Poets of the Year Award.
The Seamus Heaney Centre for Poetry
c/o School of Arts, English and Languages, Queen’s University Belfast, Belfast BT7 1NN
tel 028-9024 5133
email shc@qub.ac.uk
website www.qub.ac.uk/schools/SeamusHeaneyCentreforPoetry
Director Professor Fran Brearton
Designed to promote both the writing and criticism of poetry, fiction and scriptwriting, the Centre houses an extensive library of contemporary poetry volumes. It also hosts regular creative writing workshops, a poetry reading group, and an ongoing series of readings and lectures by visiting poets and critics from all over the world. Its journal, The Yellow Nib,is edited by Leontia Flynn and Frank Ormsby. The eminent poet Ciaran Carson, holder of the Seamus Heaney Chair in Poetry, runs its writing group. Other staff include award-winning poet Leontia Flynn, novelists Glenn Patterson, Garrett Carr and Darran McCann and scriptwriters Tim Loane and Jimmy McAleavey, all of whom teach on undergraduate and postgraduate courses in poetry and creative writing. Founded 2003.
Shortlands Poetry Circle
Ripley Arts Centre, 24 Sundridge Avenue, Bromley BR1 2PX
tel 020-8464 9810
email shortlands@poetrypf.co.uk
website www.poetrypf.co.uk/shortlands.html
President Ruth Smith
Founded in 1911, the Circle continues to meet twice a month during term time. Visitors welcome.
Survivors’ Poetry
95 Wick Hall, Furze Hill, Hove BN3 1NG
tel (01273) 202876
email info@survivorspoetry.org.uk
email drsimonjenner@gmail.com
website www.survivorspoetry.org
Director Simon Jenner
National charity and survivor-led arts group which coordinates artistic activities using poetry to make connections between creativity and mental health. The quarterly newsletter, Poetry Express,is free to download from the website.
Tower Poetry
Christ Church, Oxford OX1 1DP
tel (01865) 276156
email info@towerpoetry.org.uk
website www.towerpoetry.org.uk
Exists to encourage and challenge everyone who reads or writes poetry. Funded by a generous bequest to Christ Church, Oxford, by the late Christopher Tower, the aims of Tower Poetry are to stimulate an enjoyment and critical appreciation of poetry, particularly among young people in education, and to challenge people to write their own poetry.
Ver Poets
tel (01582) 715817
email gregsmith480@gmail.com
website www.verpoets.co.uk
Secretary Gregory Smith
Membership £18 p.a. UK; £24 overseas; £12 students
Encourages the writing and study of poetry. Holds evening meetings and daytime workshops in the St Albans area. Holds members competitions and the annual Open Competition. Founded 1966.
WHERE TO GET INFORMATION
Your local library is a good first port of call, and should have information about the poetry scene in the area. Many libraries are actively involved in speading the word about poetry as well as having modern poetry available for loan.
Alliance of Literary Societies (ALS)
email ljc1049@gmail.com
website www.allianceofliterarysocieties.org.uk
President Claire Harman
Umbrella organisation for literary societies and groups in the UK. It provides support and advice on a variety of literary subjects, as well as promoting cooperation between member societies. Its publications include a twice-yearly members’ newsletter, Not Only But..., and an annual journal, ALSo. ALS holds an AGM weekend which is hosted by a different member society each year, moving around the UK. Founded 1973.
Arts Council England
Arts Council England, 21 Bloomsbury Street,
London WC1B 3HF
tel 0845 300 6200
email enquiries@artscouncil.org.uk
website www.artscouncil.org.uk
Arts Council England is the national development agency for the arts in England, providing funding for a range of arts and cultural activities. It supports creative writing including poetry, fiction, storytelling, spoken word, digital work, writing for children and literary translation. It funds a range of publishers and magazines as well as providing grants to individual writers. Contact the enquiries team for more information on funding support and advice.
Arts Council of Wales
Bute Place, Cardiff CF10 5AL
tel 0845 8734 900
email information@arts.wales
website http://www.arts.wales
Independent charity, established by Royal Charter in 1994. It has three regional offices and its principal sponsor is the Welsh Government. It is the country’s funding and development agency for the arts, supporting and developing high-quality arts activities. Its funding schemes offer opportunities for arts organisations and individuals in Wales to apply, through a competitive process, for funding towards a clearly defined arts-related project.
National Association of Writers’ Groups (NAWG)
65 Riverside Mead, Peterborough PE2 8JN
email info@nawg.co.uk
website www.nawg.co.uk
Aims to bring cohesion and fellowship to isolated writers’ groups and individuals, promoting the study and art of writing in all its aspects. There are many affiliated groups and associate (individual) members across the UK.
The National Poetry Library
Level 5, Royal Festival Hall, Southbank Centre, London SE1 8XX
tel 020-7921 0943
email info@poetrylibrary.org.uk
website www.nationalpoetrylibrary.org.uk
Facebook www.facebook.com/NationalPoetryLibrary
Twitter @WetBlackBough
Membership Free with two forms of ID, one photographic and the other showing a UK address
The largest public collection of modern poetry in the world. It is open to everyone (Tuesday to Sunday, 11 am to 8pm) and free to join (see above stipulations). Members can borrow from the extensive loan collections, including audio items and take advantage of the library’s e-loan service through which ebooks can be loaned at distance. The extensive collection of current poetry magazines gives a window into the breadth of poetry in the UK and beyond. The library runs a monthly event series, a programme of exhibitions which run throughout the year, a book club, shared readings and an occasional tutored workshop for budding poets. The library’s website features publishers’ information, poetry news and a list of UK-wide events.
The National Poetry Library (Children’s Collection)
Level 5, Royal Festival Hall, Southbank Centre, London SE1 8XX
tel 020-7921 0943
email info@poetrylibrary.org.uk
website www.nationalpoetrylibrary.org.uk
Facebook www.facebook.com/NationalPoetryLibrary
Twitter @WetBlackBough
Comprises thousands of items for young poets of all ages, including poetry on CD and DVD. The library has an education service for teachers and writing groups, with a separate collection of books and materials for teachers and poets who work with children in schools. Group visits can be organised inviting children to interact with the collection in various ways, from taking a Poetry Word Trail across Southbank Centre, to exploring how the worlds of science and poetry interact, and to engaging with war poetry via the Letters Home booklet to becoming a Poetry Library Poetry Explorer (available to local schools). Nursery schools can also book a Rug Rhymes session for under-5s. Children of all ages can join for free and borrow books and other materials. A special membership scheme is available for teachers to borrow books for the classroom. Contact the library for membership details and opening hours.
The Northern Poetry Library
The Chantry, Bridge Street, Morpeth, Northumberland, NE61 1PD
tel (01670) 620391
email mylibrary@activenorthumberland.org.uk
website www.northernpoetrylibrary.org.uk
Twitter @nplpoetry
Largest collection of contemporary poetry outside London, housing over 15,000 titles and magazines covering poetry published since 1945. Founded 1968.
The Scottish Poetry Library
5 Crichton’s Close, Canongate, Edinburgh EH8 8DT
tel 0131 557 2876
email reception@spl.org.uk
website www.scottishpoetrylibrary.org.uk
Houses over 45,000 items: books, magazines, pamphlets, recordings and the Edwin Morgan Archive of his published works. The core of the collection is contemporary poetry written in Scotland, in Scots, Gaelic and English, but historic Scottish poetry as well as contemporary works from almost every part of the world are also available. All resources, advice and information are readily accessible, free of charge. The SPL holds regular poetry events, including reading and writing groups, details of which are available on the library website. Closed Sunday and Monday. Founded 1984.
ONLINE RESOURCES
There is a wealth of information available for poets at the click of a mouse: the suggestions below are a good starting point.
The Poetry Archive
website www.poetryarchive.org
World’s premier online collection of recordings of poets reading their work. Free of charge. Features the voices of contemporary English-language poets as well as those from the past, including C. Day Lewis, Paul Farley and Dorothea Smartt. The Archive is added to regularly.
The Poetry Kit
email info@poetrykit.org
website www.poetrykit.org
Collates a wide variety of poetry-related information, including events, competitions, courses and more for an international readership.
Poetry Space
website www.poetryspace.co.uk
Specialist publisher of poetry and short stories, as well as news and features, edited by Susan Jane Sims. Operates as a social enterprise with all profits being used to publish online and in print, and to hold events to widen participation in poetry. Poetry submissions accepted all year round for Poetry Space Showcase Quarterly, an online and print publication aimed at over-16s. Poems are selected each quarter by a guest editor and if not chosen in that window have another chance with the next guest editor. Poetry submissions also accepted for consideration for pamphlet and full collection publication. Poets are requested to send in a sample of six poems before a full manuscript will be considered; unsolicited manuscripts will not be read. Occasional submission calls for themed anthologies. Subscribers to the Friends of Poetry Space membership scheme receive Showcase Quarterly and a surprise pamphlet from the catalogue. Submissions for all of the above should be sent to susan@poetryspace.co.uk. Founded 2010.
Poets and Writers
website www.pw.org
Twitter @poetswritersinc
US-based online magazine and e-newsletter on the craft and business of writing.
Prac Crit
email editors@praccrit.com
website www.praccrit.com
Twitter @praccrit
Editors Sarah Howe, Dai George, Vidyan Ravinthiran
Online journal of poetry and criticism, published three times a year. Features interviews, essays and the reflections of poets themselves; close analysis of poems a hallmark.
Sabotage Reviews
website www.sabotagereviews.com
Small press review site. Welcomes articles and reviews of 500–1000 words on poetry, fiction and the spoken word but check website guidelines carefully prior to submitting any work (http://sabotagereviews.com/about/guidelines) – full poetry collections or novels are rarely covered on the site.
The Wolf
website www.wolfmagazine.co.uk
Archive of original material from the publishers of The Wolf magazine, which was active between 2002 and 2017.
Write Out Loud
email info@writeoutloud.net
website www.writeoutloud.net
Poetry news, features and reviews, with comprehensive listings of poetry events, publications, festivals, and competitions. Members may post poems, join discussions, add their profile etc. 50,000+ monthly users.
WHERE TO CELEBRATE POETRY
Festival information should be available from Arts Council England offices (see here). See also Festivals and conferences for writers, artists and readers here. As well as the list below, major poetry festivals each year include Ledbury, Bridlington, Aldeburgh and Cheltenham. Poetry also features prominently at the Glastonbury and Latitude Festivals.
The British Council
10 Spring Gardens, London SW1A 2BN
tel 020-7389 4385
email general.enquiries@britishcouncil.org
website https://literature.britishcouncil.org/
Visit the website for a list of forthcoming festivals.
Canterbury Festival
Festival House, 8 Orange Street, Canterbury, Kent CT1 2JA
tel (01227) 452853
email info@canterburyfestival.co.uk
website www.canterburyfestival.co.uk
Takes place 20 October–3 November 2018
Kent’s international arts festival, one of the most important cultural events in the South East. As an independent charity, the Festival brings a rich mixture of performing arts from around the world to surprise and delight audiences. The Festival inspires artists to create and perform. It commissions new work, champions emerging talent and supports those seeking careers in the cultural industries.
Poems in the Waiting Room (PitWR)
12 Abingdon Court Lane, Cricklade, Wilts. SN6 6BL
email helenium@care4free.net
website www.poemsinthewaitingroom.org
Twitter @poemsintheWR
PitWR is a registered arts in health charity which supplies short collections of poems for patients to read while waiting to see their doctor. First established in 1995, the poems cover both the canon of English verse and contemporary works – poetry from Quill to Qwerty.
StAnza: Scotland’s International Poetry Festival
email stanza@stanzapoetry.org
website www.stanzapoetry.org
StAnza is international in outlook and aims to celebrate poetry in all its forms. It is held each March in St Andrews, Scotland’s oldest university town. The festival is an opportunity to engage with a wide variety of poetry, to hear world-class poets reading in atmospheric venues, to experience a range of performances where music, film, dance and poetry work in harmony, to view exhibitions linking poetry with visual art and to discover the part poetry has played in the lives of a diverse range of writers, musicians and media personalities. Founded 1988.
WHERE TO PERFORM
Poetry evenings are held all over the UK and the suggestions listed below are worth checking out. Others can be found by visiting your local library or your Arts Council office, or by visiting the What’s on section of the Poetry Society website (www.poetrysociety.org.uk/events). The Poetry Library (www.poetrylibrary.org.uk/events) is also an excellent source for upcoming poetry events. Also look out for local groups at which members can share their work.
Allographic
tel 07904 488009
email info@allographic.co.uk
website https://sites.google.com/site/allographica/
Twitter @allographica
Contact Fay Roberts
Cambridge-based live events with new and upcoming names from the spoken word scene and a set of workshops for aspirant poets, storytellers and other writers and performers. Also produces a range of publications, from anthologies to books and pamphlets, that can be purchased online.
Apples and Snakes
The Albany, Douglas Way, London SE8 4AG
tel 020-8465 6140
email programming@applesandsnakes.org
website www.applesandsnakes.org
Performance poetry and spoken word in London and throughout England: see website for full details and contact names.
Bad Language
Gullivers, 109 Oldham Road, Manchester M4 1LW
email openmic@badlanguagemcr.com
website http://badlanguagemcr.com
Contacts Joe Daly, Fat Roland (Manchester); Nicola West, Daniel Carpenter (London)
Saboteur Award-winning literature organisation and spoken word night dedicated to the promotion and development of new writing. See website for up-to-date listing of forthcoming events.
Bang Said the Gun
email info@bangsaidthegun.com
website www.bangsaidthegun.com
Twitter @bangsaidthegun
Contact Daniel Cockrill
High-energy monthly spoken word night with a limited open-mic section. See website for up-to-date gig listings and venues.
Book Slam
Various venues, see website for details
email info@bookslam.com
website www.bookslam.com
Contact Elliott Jack
Founded with the aim of returning literature to the heart of popular culture, Book Slam invites authors, poets, singer-songwriters and comedians to a thinking person’s cabaret.
Café Writers Norwich
Louis Marchesi, Tombland, Norwich NR3 1HF
email info@cafewriters.co.uk
website www.cafewriters.co.uk
Twitter @cafewriters
Contacts Martin Figura, Helen Ivory
Readings of poetry and prose in a relaxed and welcoming atmosphere, on the second Monday of every month. Open mic slots available.
CB1 Poetry
CB2 Bistro, 5–7 Norfolk Street, Cambridge CB1 2LD
tel (01223) 508355
email cb1poetry@gmail.com
website www.cb1poetry.org.uk
Regular readings featuring new and well-known artists. Previous participants include Owen Sheers, George Szirtes, Don Paterson and Emily Berry. Check website for dates and times of meetings.
Coffee House Poetry at The Troubadour
PO Box 16210, London W4 1ZP
email coffpoetry@aol.com
website www.coffeehousepoetry.org
Readings & classes take place at The Troubadour, 263–267 Old Brompton Road, London SW5 9JA.
Find the Right Words
The Western, 70 Western Road, Leicester LE3 0GA
email jess_green@hotmail.com
website www.jessgreenpoet.com
Twitter @ftrwpoetry
Editor Jess Green
Monthly poetry and rap event. Two headliners every month, ten open mic spots (five in advance, five on the door) and a free workshop at each event with one of the headliners.
Flint & Pitch Productions
email flintandpitch@gmail.com
website www.flintandpitch.com
Twitter @flintandpitch
Edinburgh-based spoken word, theatre and music organisation specialising in multi-act revue shows, touring spoken word theatre shows and live literature events across Scotland.
Forked
The B Bar, Barbican Theatre, Plymouth PL1 2NJ
email info@applesandsnakes.org
website www.applesandsnakes.org
Stand-up performance poetry and spectacular spoken word from across the UK. A Plymouth-based seasonal night (three per year) produced by Apples and Snakes.
451 City
Studio 144, Above Bar Street, Southampton, SO14 7DU
email pete@applesandsnakes.org
website www.applesandsnakes.org
Contact Pete Hunter
Southampton-based bi-monthly celebration of the spoken word.
Hammer and Tongue
The Old Fire Station, George Street, Oxford OX1 2AQ
email oxford@hammerandtongue.com
website www.hammerandtongue.com
Twitter @htoxford
Regional Coordinator Steve Larkin
Poetry slam and touring guest artist events in London, Bristol, Brighton, Cambridge, Southampton and Oxford. See website for timings and contact details.
Hit the Ode
email bohdan@applesandsnakes.org
website www.applesandsnakes.org
Twitter @hittheode
Programme Co-ordinator Bohdan Piasecki
Spoken word poetry in Birmingham. Each Hit the Ode features an act from the West Midlands, one from elsewhere in the UK and one international guest.
Inky Fingers
email inkyfingersedinburgh@gmail.com
website https://inkyfingersedinburgh.wordpress.com/
Twitter @InkyFingersEdin
Contacts Ross McCleary, Freddie Alexander, Eleanor Pender
Grass-roots spoken word organisation running a series of wordy events in Edinburgh, from open mic nights to reading and performance workshops.
Jawdance
Rich Mix, 35–47 Bethnal Green Road, London E1 6LA
email nina@applesandsnakes.org
website www.applesandsnakes.org
Host Yomi Sode
Poetry, film and music night, currently every third Wednesday of the month. Check website for details.
Kent & Sussex Poetry Society
The Vittle and Swig, Camden Road, Tunbridge Wells, Kent TN1 2PT
email kentandsussexpoetry@gmail.com
website www.kentandsussexpoetry.com
Secretary Mary Gurr
Local group with national reputation. Organises monthly poetry readings (third Tuesday of each month at 8pm), workshops and an annual poetry competition.
Out-Spoken
100 Club, 100 Oxford Street, London W1D 1LL
website www.outspokenldn.com/live
Facebook www.facebook.com/outspokenLDN
Twitter @OutSpokenLDN
Hosts Joelle Taylor, Anthony Anaxagorou, Karim Kamar, Tom MacAndrew, Sam Bromfield, Craft-D
Monthly poetry and live music event. See website or social media accounts for forthcoming dates and start times; entry £8 online, £10 on the door.
Out-Spoken also runs an annual prize awarded in three categories: Performance; Page; and Film. Submissions open in January, with winners in each category and a cash prize for the overall winner. Submissions can be made via outspokenldn.com and cost £5 per entry. Previous winners include Momtaza Mehri, who was appointed the Young People’s Laureate for London in April 2018.
Poetry Unplugged at the Poetry Cafe
22 Betterton Street, London WC2H 9BX
tel 020-7420 9888
email poetryunplugged@gmail.com
website http://poetrysociety.org.uk/poetry-cafe/
Twitter @poetniall
Host Niall O’Sullivan
Open-mic session, welcoming to new poets. Every Tuesday, sign-up between 6pm and 7pm; spaces are limited.
Poets’ Café
21 South Street, Reading RG1 4QU
website www.clairedyer.com/poets-cafe-2
Twitter @Poets_Cafe
Host Reading Stanza c/o Claire Dyer
Reading’s longest-running poetry platform, now being organised and hosted by The Poetry Society’s Reading Stanza. Held on the second Friday of each month, consisting of an open mic section and a full reading by a leading poet.
Polari
Royal Festival Hall, Southbank Centre, Belvedere Road, London SE1 8XX
email paulburston@btinternet.com
website www.polariliterarysalon.co.uk
Contact Paul Burston
Multi-award-winning LGBT literary salon, held once a month at the Southbank Centre (see website for details). Focuses on established authors but has some pre-arranged spots per event for up-and-coming LGBT writers.
SoapBox
tel 07879 353396
email amy@getonthesoapbox.co.uk
website www.getonthesoapbox.co.uk
Twitter @getonthesoapbox
Contact Amy Wragg
Based in Norfolk and Suffolk, SoapBox promotes and organises live music, poetry and comedy events in a variety of settings, from pubs to arts centres, festivals and street performances.
Stablemates
The Poetry Cafe, 22 Betterton St, London WC2H 9BX
email jillabram@wordpress.com
website https://jillabram.co.uk/stablemates
Contact Jill Abram
Monthly event presenting three poets from one press. Usually the last Thursday of the month.
Stirred
email stirredwomen@gmail.com
website https://stirredpoetry.wordpress.com
Twitter @StirredPoetry
Team Anna Percy, Rebecca Audra Smith, Jasmine Chatfield, Lenni Sanders
Feminist collective based in Manchester. Runs a monthly themed spoken word and open mic night, as well as facilitating workshops.
That’s What She Said
The Book Club, 100–106 Leonard Street, London EC2A 4RH
website http://forbookssake.net
Twitter @forbookssake
Feminist spoken word and poetry night curated by For Books’ Sake at The Book Club. Aims to showcase the best new writing and performance by women, featuring established and emerging authors with a mix of performance, poetry, storytelling, slam and more. Shortlisted for Best Spoken Word Night in the UK (Saboteur Awards, 2017)
Tongue Fu
email tonguefupoetry@gmail.com
website www.tonguefu.co.uk
Twitter @TheTongueFuShow Founders Chris Redmond, Riaan Vosloo Lively spoken word night; describes itself as ‘a riotous experiment in live literature, music, film and improvisation’. See website for information on forthcoming events. Tours nationally and internationally.
COMPETITIONS
There are now hundreds of competitions to enter and as the prizes increase, so does the prestige associated with winning one, such as the National Poetry Competition.
To decide which competitions are worth entering, make sure you know who the judges are and think twice before paying large sums for an anthology of ‘winning’ poems which will be read only by entrants wanting to see their own work in print. The Poetry Library publishes a list each month (available free on receipt of a large sae, or online at www.poetrylibrary.org.uk/competitions). See also Prizes and awards here.
Literary prizes are given annually to published poets and as such are non-competitive. Information on some high-profile awards can be found on the Booktrust website (www.booktrust.org.uk/prizes).
WHERE TO WRITE POETRY
Apples and Snakes
The Albany, Douglas Way, London SE8 4AG
tel 020-8465 6140
email info@applesandsnakes.org
website www.applesandsnakes.org
Organisation for performance poetry and spoken word, whose goal is to produce engaging and transformative work in performance and participation. Apples and Snakes operates in three main areas: producing, curating and commissioning the spoken word via live events and creative digital content; artist development; participation and outreach. Founded 1982.
Arvon
Lumb Bank – The Ted Hughes Arvon Centre, Heptonstall, Hebden Bridge, West Yorkshire HX7 6DF
tel (01422) 843714
email lumbbank@arvon.org
Totleigh Barton, Sheepwash, Beaworthy, Devon EX21 5NS
tel (01409) 231338
email totleighbarton@arvon.org
The Hurst – The John Osborne Arvon Centre, Clunton, Craven Arms, Shrops. SY7 0JA
tel (01588) 640658
email thehurst@arvon.org
website www.arvon.org
Arvon’s three centres run 5-day residential courses throughout the year for anyone over the age of 16, providing the opportunity to live and work with professional writers. Writing genres explored include poetry, narrative, drama, writing for children, song-writing and the performing arts. Bursaries are available to those receiving benefits. Founded 1968.
Cannon Poets
22 Margaret Grove, Harborne, Birmingham B17 9JH Meets at The Moseley Exchange, The Post Office Building, 149–153 Alcester Road, Moseley, Birmingham B13 8JP usually on the first Sunday of each month (except August) at 2pm
website www.cannonpoets.org.uk
Twitter @Cannonpoets
Cannon Poets have met monthly since 1983. The group encourages poetry writing through:
• workshops run by members or visitors
• break-out groups where poems are subjected to scrutiny by supportive peer groups
• 10-minute slots where members read a selection of their poems to the whole group
• publication of its journal, The Cannon’s Mouth (quarterly).
Members are encouraged to participate in poetry events and competitions. Cannon Poets’ annual poetry competition, Sonnet or Not, invites poems of just fourteen lines in length. Entrants may choose any one of the traditional sonnet forms, or experiment with alternative 14-line forms, perhaps using half rhyme, metarhyme or blank verse.
City Lit
1–10 Keeley Street, London WC2B 4BA
tel 020-7492 2600
email infoline@citylit.ac.uk
website www.citylit.ac.uk
Twitter @citylit
Offers classes on poetry appreciation as well as practical workshops.
The Poetry School
1 Dock Offices, Surrey Quays Road, Canada Water, London SE16 2XU
tel 020-7582 1679
website www.poetryschool.com
Teaches the art and craft of writing poetry, with courses in London and around the UK, ranging from evening classes, small seminars and individual tutorials, to one-day workshops, year-long courses and an accredited MA. Activities for beginners to advanced writers, with classes happening face-to-face and online. Three termly programmes a year, plus professional skills development projects and CAMPUS, a social network for poets.
Tŷ Newydd Writing Centre
Llanystumdwy, Cricieth, Gwynedd LL52 0LW
tel (01766) 522811
email tynewydd@literaturewales.org
website www.tynewydd.wales
Runs residential writing courses encompassing a wide variety of genres and caters for all levels, from beginners to published poets. All the courses are tutored by published writers. Writing retreats are also available.
Wey Poets (Surrey Poetry Centre)
Friends Meeting House, 3 Ward Street, Guildford GU1 4LH
tel (01252) 702450 (admin)
email weyfarers@yahoo.co.uk
email bb_singleton@hotmail.com
website www.weyfarers.com
Contact Belinda Singleton
Group meets 2–4.30 each event: third Wednesday of the month for workshops, September to June (first Wednesday in December). Additional speaker events on first Wednesday in November, March, April and May. (Please see website for any changes.) Supportive workshops for original poetry. Small, long-standing group with quality input. New members/visitors and enquiries very welcome.
HELP FOR YOUNG POETS AND TEACHERS
National Association of Writers in Education (NAWE)
Tower House, Mill Lane, off Askham Fields Lane, Askham Bryan, York, YO23 3FS
tel 0330 3335 909
email admin@nawe.co.uk
website www.nawe.co.uk
National membership organisation which aims to further knowledge, understanding and enjoyment of creative writing and to support good practice in its teaching and learning at all levels. NAWE promotes creative writing as both a distinct discipline and an essential element in education generally. Its membership includes those working in Higher Education, the many freelance writers working in schools and community contexts, and the teachers and other professionals who work with them. It runs a national database of writers, produces a weekly opportunities bulletin, publishes two journals –Writing in Education and Writing in Practice – and holds a national conference.
Poetry Society Education
The Poetry Society, 22 Betterton Street, London WC2H 9BX
tel 020-7420 9880
email educationadmin@poetrysociety.org.uk
website www.poetrysociety.org.uk
An arm of The Poetry Society aiming to facilitate exciting and innovative education work. For over 30 years it has been introducing poets into classrooms, providing comprehensive teachers’ resources and producing accessible publications for pupils. It develops projects and schemes to keep poetry flourishing in schools, libraries and workplaces, giving work to hundreds of poets and allowing thousands of children and adults to experience poetry for themselves.
Through projects such as SLAMbassadors UK, the Foyle Young Poets of the Year Award and Young Poets Network, the Poetry Society gives valuable encouragement and exposure to young writers and performers.
Schools membership offers a range of benefits, including quarterly Poetry Society publications, books and posters, and free access to the Poets in Schools placement service. Youth membership is also available (for ages 11–18; £18 p.a.) and offers discounts, publications, poetry books and posters.
Young Poets Network
website http://ypn.poetrysociety.org.uk/
Twitter @youngpoetsnet
Online resource from The Poetry Society comprising features about reading, writing and performing poetry, plus new work by young poets and regular writing challenges. Aimed at young people under the age of 25.
YOUNG POETRY COMPETITIONS
Children’s competitions are included in the competition list provided by the Poetry Library: this is free on receipt of a large sae but many details are available online at www.poetrylibrary.org.uk/ competitions. Further information on literary prizes can be found on the Book Trust website (www.booktrust.org.uk/prizes).
Foyle Young Poets of the Year Award
The Poetry Society, 22 Betterton Street, London WC2H 9BX
tel 020-7420 9880
email fyp@poetrysociety.org.uk
website www.foyleyoungpoets.org
Annual competition for writers aged 11–17. Prizes include publication, mentoring and a residential writing course. Deadline 31 July. Free to enter. Founded 2001.
Christopher Tower Poetry Prize
Christ Church, Oxford OX1 1DP
tel (01865) 276156
email info@towerpoetry.org.uk
website www.towerpoetry.org.uk/prize/
Annual poetry competition (open from November to March) from Christ Church, Oxford, aimed at students aged between 16 and 18 in UK schools and colleges. The poems should be no longer than 48 lines, on a different chosen theme each year. Prizes: £3,000 (1st), £1,000 (2nd), £500 (3rd). Every winner also receives a prize for his or her school.
FURTHER READING
Addonizio, Kim, Ordinary Genius: A Guide for the Poet Within (W.W. Norton and Co. 2012)
Bell, Jo, and Jane Commane, How to be a Poet: A 21st Century Guide to Writing Well (Nine Arches Press 2017)
Bell, Jo, and guests: 52: Write a Poem a Week – Start Now, Keep Going (Nine Arches
Press 2015)
Chisholm, Alison, A Practical Guide to Poetry Forms (Compass Books 2014)
Fairfax, John, and John Moat, The Way to Write (Penguin Books, 2nd edn revised 1998)
Greene, Roland, et al., Princeton Encyclopedia of Poetry and Poetics (Princeton University Press, 4th edn 2012)
Hamilton, Ian, and Jeremy Noel-Tod, The Oxford Companion to Modern Poetry in English (Oxford University Press, 2nd edn 2013)
Kowit, Steve, In the Palm of Your Hand: A Poet’s Portable Workshop (Tilbury House, 2nd edn 2017)
Maxwell, Glyn, On Poetry (Oberon Books 2012)
Oliver, Mary, Rules for the Dance: Handbook for Writing and Reading Metrical Verse (Houghton Mifflin 1998)
Padel, Ruth, 52 Ways of Looking at a Poem: A Poem for Every Week of the Year (Vintage 2004)
Padel, Ruth, The Poem and the Journey: 60 Poems for the Journey of Life (Vintage 2008)
Roberts, Philip Davies, How Poetry Works (Penguin Books, 2nd edn 2000)
Sampson, Fiona, Poetry Writing: The Expert Guide (Robert Hale 2009)
Sansom, Peter, Writing Poems (Bloodaxe 1993, repr. 1997)
Whitworth, John, Writing Poetry (A&C Black, 2nd edn 2006)
See also...
• Publishers of poetry, here
• Becoming a published poet, here
• Notes from a passionate poet, here