Don't know what a 'sifter' is? Read this blog first.
Tip # 5
Get Good
The number 1 reason why I reject poems is simply this: they just aren’t good enough.
When I’m sifting, it’s very clear which are the prize-grade poems and which are not. There are surprisingly few mid-level outliers. In terms of quality, it’s typically 0 or 100, and the only difference between the low-tier entries and the high-tier entries is that the high-tier entrants have clearly learned more about writing and had more practice. Craft really shows. The fact is that most entrants just aren’t ready yet. But, importantly, they can become ready.
"The fact is that most entrants just aren’t ready yet. But, importantly, they can become ready."
The non-prize grade poems generally have the same sorts of features: the line breaks are random, the images are limited or unimaginative, they explain what they are about rather than show it, they contain clichés, they have grammatical errors, the punctuation is wrong, they’re too short and finish before they really get anywhere, or they’re too big and carry on long after they should have finished, the voice lacks confidence, the style lacks control, there is little technical precision, they are preoccupied with sounding like a poem, and often they’re just a bit boring. On average, I’d estimate that about 85% of the poems I see are like this. So, if your entry doesn’t run afoul of these problems, then good news - you’re already in the top 15%.
"...people either give up or they go away and get good. Once they get good...the difference in their work is extraordinary."
On reflection, the lack of mid-level entries in a competition shouldn’t surprise us. When we start off writing we begin with lots of enthusiasm. Many people enter poems into competitions even though they haven’t been writing for very long. I did it when I started; most of us will. Inevitably, these poems get rejected, and when this happens, people either give up or they go away and get good. Once they get good, they then go back to entering competitions and the difference in their work is extraordinary.
So, do some writing courses, get a mentor, join a workshop, read lots and lots of poetry. Basically, have a training montage. The people operating at 100 all started at 0, it didn’t happen by chance, luck or pure talent. Whatever level you’re at, there is always room for improvement, and it makes a massive difference to your odds.
Cat Woodward
Looking for inspiration? Explore my poetry writing prompts and courses at The Poetry Master Class. Just click below.
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