Publicizing: Poetry Contests

 

How do you get yourself so well known that people will demand your work — editors, workshop conveners and the public? How is a reputation built, and sustained? One good way is through poetry contests.

Poetry doesn't differ from any other art that is currently in oversupply. There are no great secrets in winning poetry contests or other form of recognition. Remember that you have to do the work, generally all of it. There are few or no literary agents for poets, and a first place or glowing review in a small magazine does not usually bring in the commissions, appearances or sales.

Poetry Contests and Self Publicity


Publicizing yourself commonly takes as much effort as writing the poetry. Don't neglect it. Publicity is not success, but it does create the time, opportunity and encouragement to write better.

Enjoy but don't be fooled by the the hype of publishers and critics. Keep your real work as something apart, which is fed but not overwhelmed by the notice it receives. Your literary personality is what you create through your better writing, so make sure you understand what you're doing and can argue for it.

Suggestions

Some specific suggestions:

1. Be distinctive. Do what other currently popular poets are doing, but do it better and in your own particular way. The work should carry your hallmark, be something that only you could have pulled off.

2. Do something outrageous. Buck the trend in ways useful to media journalists needing the good story. Feed the interviewer with the elements of an unusual persona or literary personality. Keep polecats; advise the UN on Third World agricultural developments; become a lap-dancer.

3. Network. Most opportunities come through associations, contacts and personal recommendations. Remember favours, and don't let your sponsors down.

4. Become an active member of literary societies, poetry workshops, reading groups, etc. It's usually the small minority who take on the lion's share of the work: make sure you're one of them.

5. Help fellow writers. The arts are a competitive business, and kindnesses may not be returned, but ruthlessness is not admired. Authors are generally remembered far longer than their productions.

6. Don't provide criticism unless a) it is actually requested, b) the request is genuine and not a desire for compliments, c) you can say something positive about most of the work, and d) you can show what needs to be done in the offending passages. In general — don't.

7. Be modest, but not a shrinking violet. Accept if you're asked to appear on local radio or chair a discussion group, and work hard to make a success of it.

8. Be professional and accommodating. Unpublished poems under 40 lines in length doesn't mean "a bit over 60 lines but you can cut it down". Nor do editors enjoy having a constant stream of amendments as the deadline approaches. If you can't contemplate editorial "improvements" being made, then withdraw the piece or send alternatives.

9. Find out what is wanted: when, where and in what form. Magazines are not haphazard collections of poems, but a structured arrangement of work the editor wishes to commend to the public. Your submission may be the greatest poem of the century, but if style, subject and timing are wrong then the rejection slip will surely follow. A few magazines may keep your submission for forthcoming issues, but many are fully stocked for months or years ahead.

10. Understand the media, and stay in front. Since this year's hot topics are stale by next, you must be continually recreating your image while steadily improving the work.

11. Be methodical and consistent. Don't expect overnight recognition, but do work to a clear campaign. That, at least, is within your control.

 

email us   |   about poetry magic   | siteplan

 

Site Navigation


General

 

Publishing


Advanced Section


Poets