Let me introduce Ann Howells, my dear poet friend whose depth of experience makes this post a valuable one!
Bio: Ann Howells’s poetry
recently appeared in Borderlands, Calyx, Crannog (Ire),
Free State Review, RiverSedge, and Third Wednesday
among others. She serves on the board of Dallas Poets Community, a
501-c-3 non-profit, and has edited its journal, Illya’s Honey,
since 1999. Her chapbook, Black Crow in Flight, was
published by Main Street Rag Publishing (2007). Another chapbook, the
Rosebud Diaries, was published in limited edition by Willet Press
(2012). She won first in The Legendary’s Bukowski contest in
2011, was a finalist in both NavWorks and Southern Hum contests in
2008, won first in the Southwest Writer’s Club poetry contest in
2006, and was named a “distinguished poet of Dallas” by the
Dallas Public Library in 2001. Her work was read on NPR, and she was
interviewed on local television in Annapolis, MD. She has been
nominated twice for both the Pushcart and Best of the Net.
Picture the writer, an emaciated poet,
bent over his desk, working late into the night by the light of a
candle stub. He is wrapped in a blanket, but still shivers in his
drafty garret room. Granted, our circumstances are likely not so
dire, but writing is a solitary pursuit. Other than readings,
lectures, and the occasional poetry festival, how can the writer make
contacts with and benefit from other writers? Enter, the workshop.
I am, perhaps, a bit biased, as I have
workshopped for over twenty years. During that time I have stayed
consistently with Dallas Poets Community, but at various times, I
have also belonged to two other groups. Each had its advantages and
disadvantages. Not every workshop will be a good fit for a particular
writer. It is a good idea, when considering a workshop, to visit once
or twice (with or without bringing a poem) and take part in
discussion. A poet who writes only sonnets might feel uncomfortable
in a group where everyone else is writing in free verse; on the other
hand, all participants might benefit from the mix. The sonnet writer
might find a different type of critique helpful and be able, in
return, to teach other participants something about writing in form.
Also, if other participants are a bit more accomplished, you may
learn from them. If they are less accomplished, you have an
opportunity to teach and to view your poems as a reader might. If
members are genuinely interested in poetry, offer constructive
criticism and avoid ego, the group will work.
Finding a workshop takes a bit of
research. You might ask at your local recreation center or public
library where poetry workshops often meet. Check bulletin boards. Ask
other poets for recommendations. Find a group on-line; there are
many. Some have flourished for years. If all else fails, find several
like-minded individuals and start your own group. I have heard tales
of workshops in which name-dropping and self-aggrandizement seemed
the norm and critique was often hurtful. I have never encountered
such a group (and suspect they are urban myths). Another complaint
about workshops is that, eventually, everyone’s poems begin to
sound the same. I suppose that could possibly happen, but I find it
hard to imagine a writer so willing to give up his own voice.
Some workshops charge a fee per
meeting, some require you to send your work to other members up to
several weeks ahead of the workshop. Some groups exist mainly to
approve each other’s work and give little critique beyond spelling
and grammar. Some have been meeting together for years and will be
difficult for a new member to enter.
Let me tell you about my workshop
group, Dallas Poets Community. Our group currently has eight to
twelve attendees at each workshop, a good number for a two hour
workshop. We have a good mix of sexes, ages (we’ve had as young as
16 up to mid-80s) religious preferences, and ethnicities. A wide
variety of occupations are represented. Anyone seriously interested
in writing good poetry is welcome. Our meetings are open. Those of us
who have been with the group a while can generally recognize a poem
by another member of the group by the individual voice (which we
consider proof that workshopping has not made our writing generic).
We begin critique by having a member do
a cold reading of another poet’s work. This allows the poet to
really listen to what he has written. It allows him to catch sound
patterns and places where his writing does not flow. Then, the poet
rereads his work aloud. After that, he remains quiet as the group
discusses the poem, trying to answer four questions:
What is happening in the poem?
What is working in the poem?
What is not working in the poem?
Where might the poem be elaborated or expanded?
We make it a point to critique the
technique used and never the philosophy behind a particular poem, and
we encourage everyone to voice their thoughts, even dissenting
opinions. We also offer suggestions for places where the poem might
be submitted, and let the poet know of any other poems on a similar
topic or in a similar style that he might want to read. At the end of
this discussion, the poet may ask any questions he has about the poem
that were not answered or request further clarification about points
made.
We bring enough copies of our poem for
each person to have one on which is can write comments and either
keep or return to the poet. A good workshop will allow you to see
your work as an editor might see it, encourage thoughtful revision
and allow you to develop your own voice. The Dallas Poets Community
workshop has been meeting twice monthly for twenty-three years. We
have included high school students, college students, retirees, MFAs,
PhDs, and even the occasional songwriter. Some have stayed, some have
moved away, some have left and returned, and some gone on to other
pursuits. I credit the turnover with keeping the group from becoming
stale and predictable. That said, currently five of our members have
books published by national presses; one has two. Most of the group
has work in a variety of small press and university journals.
If you are new to workshopping, keep in
mind that your work will be criticized. If you believe revisions
alter the original thought and make it inauthentic, workshops are not
for you. If you feel compelled to defend every word you’ve written,
workshops are not for you. If you keep an open mind and consider
changes other suggest, you might benefit from workshopping, but
remember, it is your poem and recommendations put forth can be
rejected as well as accepted.
Use what you like, ignore the rest.
TIP!
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