Teignmouth Poetry Competition

The deadline is the end of January.  The international competition is being judged by Mario Petrucci. The local competition is being judged by me.

I am searching around for guidelines to help me make this decision. I can’t just rely on intuition as I know I will be having to have to make some fine distinctions.  I am not sure I like this word ‘judge’ as I don’t really feel able to sit in judgement but I must decide on which poems speak to me the most and I must be able to articulate this. It is a big responsibility.  It’s only fair that I share my thinking with everyone. Maybe anyone who reads this can also make some suggestions?

So here is one article that will  help me, providing guidelines and criteria to help me reach a  decision. Just to add, I like lots of kinds of poetry so, when sending in your poems, don’t try and second guess me…send the best! I am going to keep looking for posts and articles to show you.

The full piece comes from Gatehouse Press (for which many thanks especially as it contains some wonderful poems as examples) and it’s here     One of the poems is by Jo Shapcott and she is reading at Teignmouth Poetry Festival on the Sat night.  Tickets are available from ticketsforteignmouthpoetry@gmail.com

‘A good poem should be:

  • Not simply be an anecdote or a description− there are a lot of these kind of poems around. I have a few myself – none of them made it into my book. An anecdote is not, in itself, a bad thing, but the poem needs to be more than that, it needs a pivotal moment or insight − the thing that makes you remember a poem and go back to it for a second reading.
  • Not just a list− l like list poems, but successful ones are doing something more than simply listing stuff. They are suggesting a back-story or making you think about something that is not being overtly stated. A good example of this is “About His Person” by Simon Armitage.
  • Be exciting to read− what makes a poem exciting varies from person to person of course. Some people like rhyme, for others it’s the content. For me it is a mixture−content is important, but so is the use of language. A good writer can write about the most trivial of things and make it sound exciting. A poem that uses language in exciting ways will make me sit up and take notice. Jen Hadfield does this for me−take a look at her poem “XXI The World“.
  • Do something different− I like poems that come at things aslant. Even the most boring of subjects can be made interesting in the hands of a good writer – “Ironing” by Vicki Feaver does this brilliantly. I also like poems that tackle big topics in new ways.
  • Not be overly poetic− Try and avoid ‘poetic’ words and abstract nouns (shards, shimmery, solitary, longing etc.). A poem should avoid being flowery and pretty−even if it is about something flowery and pretty. Alice Oswald is a master of this, take a look at her poem Narcissus and you will see what I mean. She only uses one (what I would call) poemy word in the entire poem – glittery, but she gets away with it because the rest of the poem is so surprising.
  • Have a strong beginning and ending− It is so tempting to spell everything out for your reader. One of the things I tell my students is that they should trust their readers more. George Szirtes once said “jump right into the poem, and step off lightly at the end.” I have never forgotten this – it is great advice. When editing it is always worth asking yourself whether you need the first and last stanzas.
  • Not be too obscure− Sometimes this comes from over-editing−the writer takes out so much that meaning is lost. Sometimes a poem sounds poetic but falls apart when you try and unpick its meaning. Beginners often start writing like this because it approximates what they think poetry should sound like. There is, conversely, deliberately obscure poetry − intellectual and academic poetry, which does little more than showing off that it is intellectual and academic − the kind of poetry that shouts “look at me, I am so clever and well read.” Don’t get me wrong, I do like intellectual and clever poetry, but for me it needs to be doing something more. Poetry has to speak to the reader; this is what makes us go back to it.
  • Not simply tell a story− though of course there are many great narrative poems. I have come across many poems that are a story broken up to look like a poem. One trick as a writer is to ask yourself why you are writing it as a poem and not a story. If you feel like you have to cram in every tiny detail, then perhaps a short story would be a better medium. The trick is that less is more. Keep it simplish and aim to grab your reader’s attention. Don’t feel you have to tell us everything. A good story poem is like an art house film, it is immensely satisfying but leaves some questions unanswered.
  • Feel true− that doesn’t mean it has to be true. I think of a poem as a tiny work of fiction. Of course lots of poems are about real events, but writers often get hung up on not changing things/leaving things.  You should feel free to change details if it works for the poem, and to use real concrete details to flesh out fictional works. What matters is the truth of the poem not the actual truth. I love a poem that sweeps me up and makes me believe in it. It could be a mythological story or a poem about going to the shops, just make me believe it.
  • Not take itself too seriously but not try too hard be funny− Poetry that doesn’t do it for me is poetry is that tries too hard to be funny or has a clever punch line−those poems are rarely memorable. There is a lot of humour in everyday life and I like poems that reflect this without whacking me in the face with it. A great example of this is the poem is “Somewhat Unravelled” by Jo Shapcott from Of Mutability. I have a similar dislike of poems that take themselves too seriously and are overburdened with portentous description and abstract nouns. You are not Edgar Allan Poe.

All this of course, is purely my own opinion on what contributes to making a good poem.’


Julia Webb, December 2016

I myself agree with this.


About Rebecca Gethin

Rebecca Gethin is a poet and a novelist. Cinnamon Press published her third collection, All the Time in the World in 2017. Another pamphlet is forthcoming with Three Drops Press. Her second novel, What the horses heard, was published by Cinnamon Press in May 2014. Her second poetry collection - A Handful of Water - was published by Cinnamon in 2013. Her first - River is the Plural of Rain - was published by Oversteps Books in 2009. Her novel Liar Dice won the Cinnamon Press Novel Writing Award in 2010 and was published in 2011. She lives on Dartmoor and writes occasional pieces about wildlife and nature. Her poems appear in a variety of poetry magazines and in several anthologies.
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