Tag: brighton poetry stanza

Submissions – to enquire or not to enquire?

First of all a huge thank you to Matthew Stewart of Rogue Strands who has once again mentioned my blog in his ‘Best UK Poetry Blogs of the Year’ roundup. It’s exciting to be in there with such great company, and always very nice to know this blog is read and enjoyed. I think all bloggers have those days when you’re writing something and you suddenly think “what if no-one reads this, am I just sneezing into the ether?” or whatever.

Now we have those crazy last two weeks before Christmas which, in a musical household, tends to mean every spare moment is taken up with concerts and the myriad jobs they involve. Poetry has to take a secondary role. Having said that, tonight is a last huzzah of the year with the Brighton Stanza having a seasonal evening of readings, magazine-swapping, socialising, celebrating and commiserating. I’ve managed to delegate the compering to two fine poets with big personalities and am looking forward to hearing a wide variety of poetry styles and performances from our eclectic mix of members, Brighton-stylee.

overwhelmed editor
I do sympathise. Honest.

Submissions news: no news (and not necessarily good news). But I did come across a very handy tool put together by Nathaniel Tower on his blog Juggling Writer – it’s a spreadsheet for keeping track of submissions. (The link to it is about halfway through this article.) My own submissions tracking started off very well but has gone a bit scruffy lately, and having inputted my current ‘out’ poems into Nathaniel’s nice clean version, I can see at-a-glance that I have 13 poems that have been out for 34 days, 4 for 50 days, 2 for 61 days, 4 for 89 days and 4 for a whopping 114 days.

I did recently enquire about the four poems that were submitted 114 days ago (August 16th) – a very polite enquiry of the magazine in question, asking where they might be in their reading schedule to give me some idea of how much longer before a response. I was brief, and about as friendly, humble and self-effacing as I could be within the confines of human dignity. But it didn’t surprise me not to get a reply, which in itself makes me sad.

I’m trying very hard to see it from the magazine’s point of view. I’ve read all the articles about how editors are overwhelmed, losing money and hair, besieged by poets who don’t read the magazine or the guidelines, who pester and get shirty if they’re rejected and so forth. The magazine editors I know or have met are nice people with a difficult job. I do understand and generally speaking I know you just have to wait, and when you get a ‘no’, you move on and send it elsewhere. I obey the ‘no simultaneous submissions’ rules and am prepared to tie up poems for months on end, that’s just what poets do.  I rarely enquire – but when I do, I wring my hands and think and think about the wording. I try to be as considerate as possible. But I don’t think it would be unreasonable to submit elsewhere after five months if a gentle query brings no reply.

Do you agree? Do you ever enquire about a submission, and if so, at what point? Do you get a response?

Meanwhile, a quick plug for the next Telltale Press event at the Poetry Cafe in London on Wednesday 7th January at 7pm – please come if you’re anywhere near London. It’s FREE! On the bill are Catherine Smith, Canadian poet Rhona McAdam, Siegfreid Baber plus Peter Kenny and myself. There’s a Facebook event page, let us know if you’re coming and hope to see you there.

Latest on the book, the pamphlet and more projects

Malling Deanery gardens and the Ouse
Taken on Sunday in the garden of friends

I don’t suppose you’ve noticed, but I’ve been a bit quiet on here the last week or so – not for any reason other than work though. I’ve fully recovered from the mini workshop trauma of a couple of weeks ago (I typed that as one word, workshoptrauma, which made me wonder momentarily if that’s a German word). Thank you for all the interesting comments on that one – it seemed to strike a nerve! But since then I’ve got back on the horse and the same workshop on Saturday was quite a different experience, it felt like we’d all taken a chill pill. Or maybe it’s just all the lovely blossom on the trees and the Spring-like weather. Last night we had a Brighton Stanza meeting in the open air – goodness! Summer must be acumen in. And I sold 3 copies of my pamphlet! Yeehaa.

Speaking of which, thank you to the kind purchasers of The Great Vowel Shift, it’s going well and has had two lovely reviews, one by Peter Kenny and another in London Grip.  Very exciting!

Today I’ve been hard at it, on the home straight with the blogging book (all the copy is due next Tuesday). In fact I was just writing about time management and beating ‘bloggers’ block’, and by way of a break in the writing I’m (erm) writing this blog post. (Which comes under the heading of ‘do something different’ – although it’s not all that different, but anyway…)

Blogging for Writers - work in progress
Blogging for Writers – work in progress

The good news is I’ve hit my 45k word count, bad news is I still have 4 double page spreads to write, so I’m going to be a bit over. Then there’s what feels like a zillion photos to source and caption, expert bloggers to chase up for their contributions, and then going through it all and filling in the many holes, amending cross-chapter references, spell-checking, repetition-checking and all that stuff, then getting in a nice orderly zip for submitting. At least I have another month to get all the images sorted. Then it’s headfirst into the next book.

In the meantime tomorrow I have the last of my 3 session ‘Build your social web presence’ at New Writing South, and I’m speaking at their Publishing Industry Day on April 26th which should be fun. But I’m looking forward to getting back to my one-to-one mentoring work and having a bit more time for poetry sometime soon.

Last week I was contacted by Julia McCutchen of an organisation called IACCW to ask if I would be a ‘featured speaker’ for one of their monthly webcasts later in the year, plus there are one or two poetry readings in the pipeline for the second half of the year, so lots happening.

I hope the weather lasts and you have a lovely Easter break. Enjoy the blossom.

 

Quick writing update

This is probably displacement activity, as I should be working on the book which I have until Easter to write. Yikes! Quick update on a few things.

Poetry writing is currently going through a dry patch. I missed out on my Mimi Khalvati fix at the weekend as I was under the weather, but did have a good Stanza meeting on Monday night and the first of our ‘small group’ workshops is next week, so I’m looking forward to that. I’ve been digging around my archive of unfinished and ‘in need of work’ poems, of which there are A LOT. One or two I’ve actually managed to re-write, and as I’ve not got much out in the pipeline at the moment I sent a few things out quickly before I changed my mind.

I’m trying Ambit again … surely they can’t still be holding against me that incident at the Betsey Trotwood in 2012 …?

I had another rejection from Poetry Review … still plugging away!

A couple of new RED ALERT cautions that are currently top of mind – on Monday the redoubtable Antony Mair warned of the ‘portentous last line’ – and of course I knew exactly what he meant as I’ve been GUILTY of said practice more than once! Then today I was reading an interview with Rob Spillman, editor of US magazine Tin House, who was complaining about how too many submissions ‘lack engagement with real world issues… there’s a stunning amount of navel-gazing with tiny emotional epiphanies.’ Ouch! Be gone from my poems, o tiny emotional epiphanies!

Meanwhile, talented illustrator Hannah Clare has come up with a striking design for the cover of my pamphlet. I have a week or so before the ISBN numbers come through, which is when I can create the barcode and finish off the rest of the cover. At the moment there are 13 poems in the pamphlet but one of them I’m still not sure about, so it may end up being 12. Probably a luckier number.  All very exciting!!

And now…back to the writing that actually pays!

Poetry writers and poetry readers – a tricky issue

Poetry Shelf

It was a small turnout last night at our Stanza reading group in Brighton – just Miriam, Gary and myself! Of course there are all sorts of reasons why that might have been – the first time it has clashed with a sunny evening, plus there’s been some confusion about the start time and content of meetings in recent months due to an unfortunate bookings error by the pub.

The reading group is a relatively new thing which a few of us thought would be fun and would complement our workshopping meetings perfectly. The idea is that we each bring with us copies of a poem for everyone to read, discuss, perhaps learn something from and even spark an interest in seeking out more by that poet. It’s very relaxed and all you need to enjoy it is an open mind. Last night, Miriam had brought a poem by U A Fanthorpe and I had with me two short poems by C P Cavafy  (incidentally, if you’re interested virtually all Cavafy’s poems are online here.)

Unfortunately I didn’t study English at university and haven’t done a Creative Writing course or anything where I would have come in contact with the poetry canon, so I love the idea of being introduced to poetry and having my awareness raised in this way. But the meetings have been pretty quiet. We talked about why that might be. Are those people writing poetry just less interested in reading the poetry of others? Are people put off because they think it’s going to be too academic or ‘serious’? Or do people just want to do their own reading in private and don’t see the point of going to a meeting to talk about it? (Things like weather and time of day are, I think, the kind of issues easily overcome if the desire is strong enough.)

The Brighton Poetry Stanza, being affiliated to the Poetry Society, is all about encouraging and supporting poetry and the poetry community. In my mind that means the whole business of poetry from learning the craft, giving and receiving feedback on work in progress, discovering and reading poetry, supporting poets, going to events (or staging them) and so forth. Since Jo Grigg took on the job of revitalising the Stanza several years ago it really has really taken off – meetings are full, we’re twice staged group readings in Brighton and have started to take part in ‘Stanza Bonanza’ readings at the Poetry Cafe in London.

But people vote with their feet, and Miriam can’t be expected to keep showing up for the reading group if no-one else does. So maybe the group is a lost cause, for whatever reason. One thing we did talk about yesterday was the possibility of combining the reading and workshopping groups in a more structured way. When we’ve tried this informally, it hasn’t worked because everyone just wants to workshop and when you have 10 or more people there’s no time for anything else. However, perhaps at least one person could agree to bring something by another poet. In that way, everyone would get exposed to something by Hughes, Fanthorpe, Dickinson, Duffy or whoever. A little moment of ‘let’s see how the professionals do it / did it’ – sneaking in the ‘educational’ bit. Or is that just too prescriptive/controlling/patronising?

What do you think? Have you been through this yourself? I’m posting a link to this on our Stanza facebook Page also, in the hope that members might have comments or suggestions. Should we just stick with the workshopping and stop inventing problems? For my own part, I just know that for years I used to write poetry, when the only poetry I’d read had been for A level English. I knew I wasn’t writing well, but thought that was all I was capable of. I just didn’t get the connection. When the lightbulb finally went on it led me to raise my game, and for that I’m eternally grateful. I want others to have that feeling.

Image credit: JamesJaffe.com

Every Stanza meeting is different

Poets' Pub

I turned up to yesterday’s Brighton Poetry Stanza meeting with pretty much a clean sheet regarding how we’d spend the time. Although it was scheduled as a poetry reading and/or workshopping group, everyone was actually wanting to workshop their own poems. So pretty straightforward, and virtually no facilitation required from me at all. Except it had to be one of the more unusual meetings I’ve been to.

First of all there were more men and than women (7:2) – almost unheard of. It was quite a lively and outspoken group (again, slightly unusual – perhaps we were missing the calming influence of Jo or Miriam, our regular facilitators?)

The poems presented were an eclectic mix, including one on a religious theme to accompany an art exhibition and three performance pieces. One poet handed round a series of short zen-like poems handwritten on cards, and we each read ‘ours’, unexpected and quite moving. There was a discussion about the spelling of licorice/liquorish and some heated argument about whether poems written to be read (off the page) and poems written for performance are different, and whether it actually matters what ‘performance’ pieces look like on the page.

As Antony and I ran to catch the train we couldn’t help agreeing that each Stanza meeting is different. On the train, we were discussing various things including the poetry of Ian Duhig and a woman across the aisle reached over and offered Antony a book – “I’m sorry to interrupt but I couldn’t help overhearing what you were talking about and I think you’d find this really interesting” she said. “Good News for a couple of lost souls?” was my first thought but no, it was ‘Be Glad You’re Neurotic’.

Antony was somewhat nonplussed but handled the whole thing very gallantly, including calling the young lady back after she had rushed for the door and left her bag behind. I confess I got the giggles and struggled to hold it together all the way home. You couldn’t make it up, as they say.

(Image: Poets’ Pub by Alexander Moffat, 1980)

Brighton vs Forest: the result

Stanza Bonanza Feb 13

It was hot stuff last night in the basement of the Poetry Cafe. I was just about ready to pass out in the second half and resorted to fanning myself with the folded remains of my poems.

But quite apart from the heat (maybe it was only me suffering? must be age), a good night was had by all. A good variety of readers and material, some wonderful poems, several laughs and plenty of lovely people come to listen – thank you. And most of all three cheers for Jo for introducing us Brighton lot and coralling us all. Hip hip … For me personally, it felt significant – my first reading in London.

In the photo (not sure we were all ready at that moment but I like the quirkiness of it):

Back: John Taylor, Antony Mair, Cliff Bevan, Andy Williams and John Walsh
Middle: Ruth Wiggins, Jennifer Hall, Hassan Vawda, Sonia Jarema
Front: Dave Brooks, Mike Sims, Jo Grigg and moi

Poems we read and talked about last night

There may only have been four of us at the Stanza reading group last night but we had plenty to talk about. The poems we looked at were ‘Reprimands’ by Michael Donaghy, ‘Calcium’ by Deryn Rees Jones, ‘Substance & Shadow by John Hewitt and ‘A gift’ by Don Paterson. So America, Wales, ireland and Scotland all represented.

Michael Donaghy is a poet I’d heard of but hadn’t read before, and a bit of digging revealed more about him. A group of his former students at Birkbeck College and City University, London formed ‘The King’s Poets’ a decade ago, and one of their number (Lucy Ingrams) recently took 2nd place in the Magma Poetry Competition I believe. There’s a bit of trivia for you.

Meanwhile the mission was on to rescue Deryn Rees Jones from the mixed impression she gave at the TS Eliot readings (the poem she read included the word ‘dog’ 594 times, or thereabouts.) We all enjoyed ‘Calcium’ I think, and managed to interpret it in many different ways,with increasing vehemence!

I think perhaps John Hewitt’s ‘Substance and Shadow’ was my favourite poem of the night, despite the unpromising title – how many times are we told in workshops to avoid abstract subjects? In fact there was little that was abstract about the poem. Like ‘Reprimands’ it followed a fairly strict form of iambic pentameter with an abab type rhyme scheme. (Although there were noticeably deliberate breaks with this in the Donaghy poem). I want to call ‘Substance and Shadow’ a sonnet, and maybe it is – 16 lines followed by 8 lines – not a Shakespearean sonnet, but another type? Please put me right if I’m showing my ignorance.

Don Paterson’s ‘A Gift’ was the one I brought, from his 2003 collection ‘Landing Light’. It’s actually not my favourite in the book, but I chose it for technical reasons not worth going into. It has a mysterious, almost biblical quality about it (nice link with the Donaghy poem here). I love the way Paterson works with form; in this collection there is everything from sonnets to prose poems to ballads. And always very clever.

Ten Voice Stanza tonight…

It’s been a few months in the planning, so Jo and I are hoping we’ve thought of everything – ha ha!

If you’re in the area, do come along to Ten Voice Stanza – doors 7.30, starting at 8pm, ten members of Brighton Poetry Stanza reading their work, plus open mic opportunities. It’s at the Redroaster Coffee House on St James’s St in Brighton, an established poetry venue and very friendly.

Other members of the group who aren’t reading (there isn’t time for more than ten) will be helping out on the door, selling pamphlets etc, so it’s been a real team effort. I do hope we get a good turnout – I have a feeling it may be packed. Hope so! It will give everyone a buzz.

At the T S Eliot prize readings on Sunday Jacob Polley said ‘the last poetry reading I gave I was on between the choir singers and the cake raffle’. Poetry audiences are nearly always small. So the prospect of an audience is a fine thing (although 2,000 people in the Festival Hall might make one a tad wobbly). Fingers crossed!

Brighton Poetry Stanza – new reading group launch

Brighton Poetry Stanza

The Brighton Poetry Stanza is expanding. Jo Grigg has done a fabulous job of nurturing this group over the last few years, with a diverse group of people meeting once a month to workshop their poems. There are a number of regulars and many more who come along when they can.

Stanzas are regional groups loosely under the auspices of the Poetry Society, but organised entirely by volunteers ‘on the ground’, and they vary in terms of what they offer – some are workshopping groups like ours, others meet less often and are structured differently. But they are open to all, you don’t have to be a paid up member of the Poetry Society.

Now Miriam Patrick, one of our Brighton members, is setting up a reading group under the Stanza umbrella. The group will meet monthly at the same venue as the workshopping group (but on a different night!) with the aim of ‘close reading’ contemporary poems that members have enjoyed, possibly from Poetry Review, or other journal. The new group kicks off this coming Monday, 3rd December, at the Caxton Arms in Brighton, 7.30 – 9.30pm. I’m certainly looking forward to it – I really enjoy hearing what other people get from poems as it really adds to the experience, even sometimes turning me on to a piece that I might have otherwise given a wide berth!

We’re also planning a poetry reading in Brighton – more on this in another post. To celebrate all this ‘expansion’ we’ve even launched a Brighton Poetry Stanza Facebook Page – yeeha!

A plea for help! Even if you’re not local, please visit our Facebook page and ‘like’ us – when we reach 30 likes we can access the stats and things can really start to build. Thanks in advance 🙂