Poetry pointers #2

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Poet and writer Stephen Whiteside answers some key questions about writing poetry. To find out more about Stephen and his work, visit his website here

 

1. Where do you get ideas?

First you need the right state of mind. The best way to achieve this is to try to find an hour or two when you having nothing to do other than to write a poem. As you unwind, ideas will begin to come. The more relaxed you get, the more ideas will arrive, and the more interesting they will be. I often approach a writing session with an idea for a poem in my mind but find that, after half an hour or so of thinking and pottering, I have a much better idea, and one that is nothing like the idea that I first sat down with.
2. How do you write a poem?
I am a rhyming poet. For me, it is very much a matter of writing a first line that I am happy with. The rest will then start to flow. In addition to writing what I want to say, I also have to be mindful of the rhyming pattern. Will it be a simple ABAB, or am I being more ambitious? How many stresses will there be in each line? Will each line be the same length? How many verses will there be? How long will they be? Will they all be the same length? Will there be a repeating line, or a refrain? Will that also change a little each time, or not? And so on…
3. Who publishes poetry?
This is a very good question. I am not sure I know any more. Yes, I know the publishers who (very occasionally) publish collections, but who publishes individual poems? My own collection, ‘The Billy That Died With Its Boots On and Other Australian Verse, published by Walker Books last year, was built heavily around poems that were published in The School Magazine (NSW), the Pearson magazines in Victoria, and The School Journal (New Zealand). Alas, these latter two no longer exist. So, aside from The School Magazine, who does publish poetry for children?
4. How do I become a children’s poet?
Given the dwindling number of publishers, I suspect that it is becoming harder and harder to become a children’s poet. Then again, of course, this is very much a matter of definition. At what point are you a children’s poet? Have you succeeded if you write a poem for your child, or niece or nephew? Or do you need to have had a poem published to be a children’s poet? Or do you need to have had a collection published? Or do you need to have had multiple collections published before you can say you are truly established as a children’s poet?
The obvious answer is to simply write, but writing without publication becomes demoralising after a while, especially if you’ve been trying hard to have poems published without any success. Peer support is important, but there aren’t really enough children’s poets for them to have their own organisation – at least, not yet. Of course the Australian Children’s Poetry web-site is a great asset, but if you want to meet other children’s poets in the flesh, you are probably going to have to join a group for children’s writers generally – such as SCBWI – or a group for poets who write for adults as well as children, or both.
5. What is your top tip for writers who want to write poetry for children?
There are two key points, I think.
1. Make sure you are always enjoying yourself when you write.
2. Never give up (but this only works if you make sure you are continuing to enjoy yourself).

Poetry pointers #1

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 Find the rhythm

Poetry doesn’t have to rhyme but it should have good rhythm–should sound good read aloud, as that is how most poetry for children is delivered, rather than silent reading. Listen to the sounds as you read out your poem; does it have a good pattern, an attractive rhythm? Jerky rhythm or forced rhyme will really spoil the overall feel. – Sophie Masson. (Visit Sophie’s website here to find out more about her writing).

 

 

Poetry pointers

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To rhyme or not to rhyme?

Where do you get ideas? How do you write a poem? Do poems have to rhyme? What makes it a poem if it doesn’t rhyme? Who publishes poetry? How do I become a children’s poet? What is your top tip for writers who want to write poetry for children?

These are among the myriad questions asked by writers who want to write poetry. How would you answer them? If you have a poetry pointer to share, email me at traffa-m(at)bigpond.net.au

 

Spreading the word

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ABC Local radio – a greatly under-utilised resource?

by Stephen Whiteside

I was very excited when my collection of rhyming verse/bush poetry for children, The Billy That Died With Its Boots On and Other Australian Verse was published by Walker Books in May last year. Walker did a beautiful job of putting the book together, and I felt confident that it would do well.

However, I was a little disappointed with what I felt was a lack of publicity. I made my own efforts, and did manage to secure an interview on ABC Local radio in Melbourne (774) on a Monday afternoon during the school holidays, but that was about it.

Then, when the book won a Golden Gumleaf for Book of the Year at the Australian Bush Laureate Awards during the Tamworth Country Music Festival in January this year, I realised I had the ‘hook’ I needed. It was particularly gratifying – and of interest to the media – that a book for children had won an award that is ostensibly an award for books for adults.

I decided to target ABC Local radio once again and, again, my home town, Melbourne came through. I secured an interview with Libby Gorr on a Sunday morning. However, I had no success with the other capital cities.

It then occurred to me that my natural constituency, given that the book was ‘bush verse’, was probably rural and regional Australia. With this in mind, I began to approach some of the smaller ABC Local radio stations. I quickly struck gold.

As a general rule, responses fell into one of three categories.

  1. The presenter loved bush poetry, and pounced on the opportunity to interview. (This happened a couple of times.)
  1. The station had no interest in the book unless I was visiting their town, which I wasn’t. (This also happened quite a few times.)
  1. The station was interested in the book, but needed some local connection with the book to justify an interview. This also happened on quite a number of occasions, and was where the challenge began.

I secured a state-wide interview in Ballarat by explaining the history of my various ancestors in rural Victoria. I secured an interview in south west Queensland by discussing the influence of Banjo Paterson on my work. (Paterson wrote Waltzing Matilda in this part of Australia.) I secured a couple of interviews in South Australia by discussing the influence of CJ Dennis on my work. (Dennis was born in South Australia, and lived there as a child and young adult.) I have secured an interview in Albany, Western Australia, by explaining that there are poems about whales in the book. (We will do the interview as soon as the whales arrive!) I have also secured an interview in Tamworth, because that is where I won the award.

I should add that all of these interviews (13 now in total) have been conducted without my leaving Melbourne. A few have been live, but most were pre-recorded. Most have been conducted on my mobile phone. I attended the ABC Soutbank Studios for the interview with Libby Gorr.

Of particular interest was the Ballarat interview, where I was placed in a ‘Tardis’ in Southbank. These are highly sophisticated studios that allow the interviewee to sound as though they are in the same studio as the interviewer, even though they may be many miles away.

My favourite interviews have been with the smallest stations in far off corners of this huge continent. The interviewers tend to be more passionate, the interviews longer, and the questions more interesting.

Do any of these interviews sell books? I don’t know, and I probably never will. I cannot see how they could do any harm, however, and they are great fun. Of course, the number of people listening to these programmes is likely to be less than with the large metropolitan stations, but there is nothing to be done about that.

My own feeling is that these smaller rural and regional ABC Local radio stations are a highly valuable and probably greatly under-utilised resource for authors trying to sell their books.

Poem of the Day

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How to Recognise a Poem (Your Own)

By Liana Joy Christensen 

 

You know

when you walk on a bush track at noon

the birds are hushed by heat

but down near your feet leaves rustle

and you smile to yourself

because another creature is near

it’s like that

 

You know

when you feel grumpy for days

nothing’s right and you don’t know why

then it shifts and fat drops of rain

kiss the dust on the pavement

the air is alive with possibilities

just before the water roars down

it’s like that

 

You know

when you get an ear worm

three or more words together

that tease you so much

you can’t get them out of your head

Sometimes it lasts for years

it’s like that

 

You know

when you ride barefoot in winter

and your feet slip off the pedals

and you stub your toes

the pain takes your breath away

it’s like that

 

You know

when your old best friend tells

their new best friend

your deepest, secret shame

and now everyone knows

Then, a universe away,

the cold coal of rage

becomes a diamond rhyme

it’s like that

 

You know

when you wake up from a dream

so luminous you rush to catch it

and though it slips through your net of words

the moth dust left behind on the mesh

glows softly for years to come

it’s like that

 

You know it’s like that

You know it’s like that

You know it’s like that

don’t you?

(Originally published in the US by Cicada, Vol 14, no 3, 2011 and later republished in Fremantle Press Performance Poets, 2013)

Weekly Update

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Helpful advice for aspiring poets

So You Wanna Be a Children’s Poet…

In this informative article, freelance writer Linda Phillips looks at techniques, terminology and genres and offers some sound advice for anyone keen to write poetry for young people.

“The point is to read widely, acquire new skills and techniques, and get busy writing. You’ll never be a ‘wanna-be’ children’s poet again.”

http://www.writing-world.com/poetry/children.shtml

 

How to Write Poetry for Magazines

Suzanne E. Henshon encourages aspiring poets to write for magazines as a first step on their path to publication.

“Writing poetry for children is exciting and exhilarating. You’ll discover that the gift of words is challenging to develop but wonderful to share. As a poet, you can give young readers lasting memories: poems that will stay in their hearts forever.”

http://clcd-literatureforchildrenandya.blogspot.com.au/2010/08/how-to-write-poetry-for-magazines-by.html

Poetry books for young people

Elizabeth Kennedy recommends several books for poetry readers in the 12+ age group on this site.

http://childrensbooks.about.com/od/poetry/tp/poetry.htm

I particularly liked the sound of these…

Dark Emperor of the Night, a 2011 John Newbury honour book by Joyce Sidman. Kennedy describes it as “a striking mixture of poetry, science and art”.

Pieces: A Year in Poems and Quilts features 20 poems about nature by Anna Grossnickle Hines, all illustrated by a miniature quilt created by the poet.

 Poems wanted

Do you have a poem for young people to share as our Poem of the Day? I’d love to hear from you. Email me on traffa-m@bigpond.net.au

Competition

Time is running out if you want to enter this.

The Caterpillar Poetry PrizeClosing date 31 March 2015

More information at: https://australianchildrenspoetry.com.au/2014/08/25/poetry-competition/

Happy writing!
Teena