Registration fee: $30
|Will Wright, poet, editor|
What makes “good poetry” good?WritersCircle Saturday, October 13, 10 – 1 pm. Contact firstname.lastname@example.org for information or visit Writers Circle
Will describes his workshop:
In the overwhelming world of poetry publishing—the innumerable journals and editors, as well as the innumerable poets attempting to publish—it’s often discouraging, even disenchanting, to attempt to figure out how to find one’s way into publication. As an editor myself, a lot of poetry hits my desk from all over the world, and much of it, unfortunately, is little more than lineated prose; that is, there is not much, if any, attention to craft.
There are certain things poets can learn about the craft so that their work is noticed.
I will dedicate half of the WritersCircle meeting to how good poetry works in distinction to lineated prose or “flat” poetry.
The poem needs to be coherent, and it must cater—in some form—to both the heart and the intellect.
I hope to embolden and encourage poets during this class and to help them identify ways to improve their work and more carefully attune their voice so that they stand out from the crowd. I welcome writers of all levels to join the class and what I hope will be a convivial, helpful conversation.
William Wright, Series Editor and Volume Editor of The Southern Poetry Anthology, is author of five collections of poems: the full-length Night Field Anecdote (Louisiana Literature Press, 2011), Bledsoe (Texas Review Press, 2011), Dark Orchard (Texas Review Press, Winner of the Texas Review Breakthrough Poetry Prize, 2005), and the chapbooks The Ghost Narratives (Finishing Line Press, 2008) and Sleep Paralysis (Winner of the South Carolina Poetry Initiative Prize, 2011, forthcoming from Stepping Stones Press). Wright recently won the Porter Fleming Prize in Poetry.