Sroll down to the end for some cogent advice from Roger Caldwell: “ON ENTERING POETRY COMPETITIONS – SOME DOS AND DON’TS”

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“Freedom” poems
– a Poetrywivenhoe 2017 competition
It is National Poetry Day on 28 September this year and it will also be the scheduled opening, at Poetrywivenhoe, of the Essex Poetry Festival 2017. And Poetrywivenhoe has celebrated its 10th birthday this year. To mark all these occasions Poetrywivenhoe will publish and launch a pamphlet of new Freedom Poems at the Essex Poetry Festival Powiv event in Wivenhoe on National Poetry Day, 28 Sept 2017

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SOME NEWS OF RECENT COMPETITION SUCCESSES (SCROLL DOWN FOR PAST SUCCESSES)

Bryan Thomas has won First Prize with his poem State of the Union in the Friends of Lowestoft Library Creative Writing Competition 2016, for which the theme was ‘To be or not to be’.. Good for you Bryan!

Pam Job has won, for the second time, the Crabbe Memorial Competition 2016 and had a second poem commended. That is such good news, Pam, you just keep on turning out great poetry! Here are some of the placings:

1st Prize (£600): Promised Land Pamela Job
3rd Prize (£150): Lost at Cadiz André Mangeot
Commended included:
Orfordness: the almost island Pamela Job
Believe What You Will André Mangeot

(For a full list, see http://suffolkpoetrysociety.org.uk/Crabbe-Winners-2016)

Alex Toms won First Prize in the Manchester Cathedral Poetry Competition 2015 with her poem Lessons for an Apprentice Eel Catcher.

Alex Toms has taken second place in the Crabbe Memorial Poetry Prize 2015 with her poem The Last Lady Eel Catcher – well done Alex!

Bryan Thomas awarded First Prize in the ‘The only way is Essex’ category of the Age UK Essex Writers Poetry and Prose Competition 2015 for his poem Maritime 1935-75.

Pam Job: awarded a ‘Commended’ in the Enfield Poetry Competition judged by Ruth Padel.

Eliza Kentridge has won (jointly with Nkosinathi Sithole) the prestigious UJ Debut Prize, for her recent collection Signs for an Exhibition. This University of Johannesburg Prize for South African Writing in English was instituted in 2006. The debut prize is given annually for “the best original creative work in English published in the previous calendar year”. Eliza tells us that this is apparently the first time a prize has gone to a book of poetry.

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POETRYWIVENHOE SWEPT THE BOARD IN THE ESSEX POETRY COMPETITION 2014:

Roger Caldwell ….. FIRST PRIZE

Peter Kennedy ….. SECOND PRIZE

Alex Toms ….. THIRD PRIZE

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Stephen Boyce won FIRST PRIZE in the poetrywivenhoe Poetry Competition 2014.

Rosie Sandler won FIRST PRIZE in the Southwell Bramley Apple Festival poetry competition 2014.

(See below)

(If you hear of any other local successes, do tell us – see Contacts page)

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POETRYWIVENHOE POETRY COMPETITION 2014 RESULTS!
(Results first, then some background stats below)

1st Prize ~ £200.00
WATCHING THE JEWEL IN THE CROWN
Stephen Boyce, Winchester, Hampshire
(see the Poems Page to read Stephen’s poem)

2nd Prize ~ £100.00
SU WU
Joan Michelson, London

3rd Prize ~ £50.00
A PROPER FIRE
Anthony Watts, Hatch Beauchamp, Taunton, Somerset


Commendations

Candyce Lange (twice), Clacton-on-Sea, Essex
Pat Borthwick, Kirby Underdale, East Yorkshire
Rosie Sandler, Langford, Maldon, Essex
Patricia Bloom, Colchester, Essex
Derek Taylor, North Hykeham, Linconshire
Chris Waters, Littlehempstone, Totnes, Devon
Children’s Prizes (£10.00 book token each)
Hope Kevlin-Alderton, St Osyth, Point Clear, Essex
Miles & Teresa Black, Wivenhoe, Essex

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ESSEX POETRY COMPETITION 2014 RESULTS!:

Roger Caldwell … FIRST PRIZE in the Essex Poetry Competition 2014 for ‘John Steed in Retirement Remembers Mrs Peel

Peter Kennedy ….. SECOND PRIZE in the Essex Poetry Competition 2014 for ‘The Eve of the Wedding

Alex Toms ….. THIRD PRIZE in the Essex Poetry Competition 2014 for ‘The Eel Catcher Dreams of Horses

AND HIGHLY COMMENDED:
Roger Caldwell for ‘The Tunnel: a Question in Philosophy

The Winners were invited to read their poems at the Big Day of Poetry in Chelmsford’s Cramphorn Theatre on Saturday awards ceremony in Wivenhoe on Saturday 11 October . (Use the EPF link on the right to see these poems)

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The Southwell Bramley Apple Festival poetry competition 2014, sponsored by Southwell Folio magazine, has been won by Rosie Sandler. Turn to our Poems page to read Rosie’s poem Hiatus.

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OTHER COMPETITIONS For a really comprehensive list of poetry prize competitions we suggest you go to: www.poetrylibrary.org.uk/competitions/

 

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SOME LOCAL RESULTS OF EARLIER COMPETITIONS

** Pam Job has won the Crabbe Poetry Prize 2013, she has been Commended in the Second Light Open Poetry Competition, and her poem Day without End has been published in ‘London Grip New Poetry Autumn 2013’. AND her most recent success has been to win second prize in the prestigious Plough Poetry Competition, judged by Andrew Motion, with her poem Benjamin Britten Walks Out in Spring. Karen Dennison too had a Commendation in the Second Light Open Poetry Competition 2013 for her poem Wayfaring. Alex Toms received a Commendation for her poem Becoming Sei in the Poetry London Competition 2013, judged by Pascale Petit (published in Poetry London 13 this autumn). Roger Caldwell had a Commendation in the 2013 Larkin and East Riding Poetry Competition for ‘Letter from Teheran‘. The judge was Jackie Kay. Phil Cohen has been Commended in the Fosseway Writers Poetry Competition 2013. * Alex Toms was among the winners of the Essex Poetry Festival’s 12th Open Poetry Competition 2012 (adjudicator: Pascale Petit) with her Highly Commended poem On Entering the Eel Catcher’s Workshop. Joan Taylor — runner-up in New Zealand poetry competition, Poems in the Waiting Room 2012. Peter Kennedy Highly Commended in the 2012 Camden/Lumen Poetry Competition judged by Poet Laureate Carol Ann Duffy.

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THE WIVENHOE POETRY PRIZE 2011 prizewinners:

First Prize: Martin Malone
Second Prize: Joy Winkler
Third Prize: Chris Waters
Merits: Stephen Boyce, Diana Hirst, Candyce Lange, Leslie Tate, Hazel Humphreys
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ON ENTERING POETRY COMPETITIONS – SOME DOS AND DON’TS

So, you have your poems ready for a poetry competition. But, before you send them off, take some time to have a look at them again.

Firstly, are these poems suitable for this particular poetry competition? For example, poems that are essentially comic rarely win general competitions (which is not to say that a sense of humour or a vein of wit doesn’t help.). There are competitions (and sometimes sections of competitions) that specifically invite comic poems. But where there is a straight fight between a good comic poem and a good serious one it is the latter that is most likely to win.

Similarly, there are certain subjects that are likely to invite suspicion as being over-familiar: for example, if you are going to write a poem about your pet you had better make it damned good to have any chance of success. (I know of one editor of a poetry journal who banned poems about cats and about God. Though obviously there have been good poems about cats and [rather more] about God in the past, I presume his ban was one based on present experience – that they tend to result in especially bad poems in the present.)

Nor is serious subject-matter or strong feeling any guarantee of poetic worth. Poems about such subjects as the holocaust should not be content to direct our emotions where they are directed anyway, but should have something in them that also makes us think afresh. For that, coming at a fresh angle is required. Don’t forget either that, just as it is possible to make an essentially trivial poem about a serious subject, it is possible to make a serious poem about an overtly trivial subject.

In general, do your poems work on the page? That is, what may go over well in oral presentation doesn’t necessarily succeed in printed. Remember, the judge hasn’t heard your work, what he or she has to go on is only what he or she can read, and faults that may be passed over in an oral rendition, particularly if the reader is an especially persuasive one, such as the odd weak line or tired epithet or faulty rhythm, are not going to be overlooked by the judge who reads the poem on the page.

Are you presenting your poem in the best way? Entrants are advised not to use fancy fonts or decorative curlicues: this will usually be interpreted as a mark of desperation and treated with suspicion. A poem of any worth doesn’t need to advertise itself as such. Similarly, poems with handwritten additions or alterations suggest that the writer hasn’t thought enough about them in advance. A straightforward unmessy presentation is preferred. The clean clear copy is often a sign of professionalism; one hard to read, and with last-minute changes, is not.

Some sorts of poems can get by without punctuation. Most can’t. The point of punctuation is make it straightforward to follow the order of thought, and (in a poem at least) to guide its rhythm. (A full stop will indicate a long pause, a comma a short one, etc.) This is elementary enough, yet it is surprising how often it is neglected.
A properly-punctuated poem is, again, a sign that the poet has thought about what he or she is doing.

Punctuation should also be consistent. In some cases it is merely conventional.
For example, it was once common for poems to have the first letter of the first word of each line capitalized; now it is commoner not to do so. The one way is not better than the other: the point is that you choose your convention and stick to it – or if you deviate from it should be for a reason.

There is an element of serendipity about poetry competitions, but in most cases,
I suspect, the judge is conscientious enough, and, though good poems may be overlooked in any one competition, they are unlikely to be overlooked forever – at least not if they are properly presented. But the point is to make the poem good in the first place, and the only way to do this is to become increasingly self-critical (even your best friends won’t tell you everything!), and the only way to become more self-critical is to read more good poetry – not only contemporary poetry – and not to copy but to learn from it.

It is sometimes said that poetry competitions tend to play things safe and to exclude anything seen as too daring or too original. However, what is daring and original needs to work as a poem, and of course it is not going to win if it is inchoate or in an unfinished state. In general, it is fatally easy to think a poem is finished when it is not: quite small considerations can make the difference between a good poem and a bad one. Reading your work one more time before entering it may exhibit a glaring mistake, or an absurdity you had overlooked, or offer a chance to generally overhaul it. Remember: it is not the judge’s job to correct solecisms: what a judge has to work on is what is before them: it is their function to judge poems, not to re-write poems.

Right, you have done all this: time to send your poems off with the conviction that you have done your best. It is now time for the judge of the competition to do theirs. Good luck!

Roger Caldwell