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Poetry Tip Sheet
Writing for Children Tip Sheet
Poetry: Taking Its Course
Contest Cautions
10 Tips for Winning Writing Contests
1. Begin with a bang. Editors routinely say they read the first paragraph of a piece, and if they don't care about what happens next, they stop there, because the incoming mail stack is too high. Contest judges often face even higher manuscript stacks. A quick way to weed out the losing entries is to discard all those where the first page doesn't give them a reason to go to the second page. Before sending in an entry, read every article or book chapter you can find on openings, beginnings, leads. Then compare yours to what the experts say. This applies equally to fiction and nonfiction.
2. Try to introduce an element of uncertainty or suspense at the beginning. Make the reader wonder how the article or story is going to turn out. David E. Sumner, associate professor of journalism and head of the magazine program at Ball State University and frequent contest judge, explains, "You do this by introducing an unsolved problem or putting the central character into a complicating situation. Too many stories have predictable content and predictable endings. If the reader (or judge) can figure out what's going to happen, then why bother to read the piece?" Stories and articles that keep judges reading all the way to the end make it to the finalists stack.
3. Make your characters alive and real. Make them talk like real people. Make every word of dialogue important to and move along the story. Judges want to see the people, both in fiction and in nonfiction. Why do your fictional characters do and say what they do? Why have your nonfictional people done or said what you're reporting about them?
4. Make your story different. That means a different setting or unusual characters or a different plot. If it's been used before, if it's trite, get rid of it. If two stories on that judge's pile are similar, they both lose.
5. If there is no length restriction or requirement, send a story or article of medium length (1,500 to 3,000 words). This doesn't overwhelm the judges, who don't really have time to read 10,000-word manuscripts. (This does not apply, obviously, if it's a full-length novel category or a juvenile category).
6. Have a positive ending. As Sumner puts it, "Positive doesn't necessarily mean happy. Even if it has a sad ending, the story or article should have a positive meaning to it."
7. Make sure your story or article has a clear central theme that you follow throughout it. You should be able to say, "This article or story is about . . ." and finish the description in one sentence. Get rid of things that don't relate to that theme.
8. Look for a story with a theme that goes "against the grain" or contradicts conventional wisdom. David Sumner explains, "Sometimes I feel I can't stand to read one more article about sexual abuse or harassment, as necessary as those stories are in arousing public awareness. But if you write a story about a man's harassment by a woman, then I am likely to read it simply because it's different."
9. Follow the contest's rules. This seems too basic and simple, but every year we receive contest entries that do not follow the rules. We even receive entries each year that have entrants' names on the manuscripts, either on the title page or on succeeding pages. This is an obvious no-no, and breaks a very clear rule, but it happens multiple times every contest. Other rules are there for a reason, and when judges must wade through that tall stack of entries, those breaking any rule are easiest to throw out. Also pay attention to the entry form so your entry will go to the correct category. It's a mistake made every contest.
10. Watch for (or have someone else who's proficient at proofreading or copyediting watch for) errors in spelling, grammar, syntax, punctuation, paragraphing, capitalization, and so on. While this may not be as important as plot or style or characterization, it can be important when determining finishing order for all the finalists.
Copyright CNW Publishing; All rights reserved.
Notes On Judging a Poetry Competition
A first, quick reading separates the entries into piles. A few poems may get cut right away, but only if the most distinctive quality is an obvious lack of skill.
A second reading involves feelings with unusually appealing poems rising to the top. However, emotions evoked by sloppy work, offensive words, or unwelcomed subject matter work against a poem, making it harder to gain higher placement as the readings progress. Subsequent readings shuffle each poem's placement. It's like the Olympics when a gymnast's technical skill and fluid motions increase the score. Depending on the number of entries, "favorites" might not make the final cut.
Some poems receive lower placement because they go on too long to sustain interest. Some have therapeutic value for the poet but exclude other readers. A children's poem may not be appropriate for young readers, especially if it ends with a cynical view or ironic twist. A beautifully written poem may suddenly get preachy, or a technically correct piece may have nothing interesting to say. Conversely, poems receiving greater attention show precision and musicality in word choices, a workable style for an interesting topic, and a fresh point of view. Such poems often provide an engaging story or a highly observant comparison.
Even in the last reading, placement continues to change. Close scrutiny shows if each word works, if syntax flows, and if the poem evokes images, insights, feelings, music, or memories for readers beside the poet. A big determining factor is whether the poem is, in some way, memorable. And, finally: Does it fit its category of entry?
This last consideration should be the poet's first. It takes a lot of time for a reader or judge to scan a stack of poems, so, conceivably, some may fall through the cracks, especially when entries specify no category. If poets aren't sure whether a poem is traditional or free verse, this may signal a need to round out the beat of metered verse or reconsider line breaks in free verse. To be truly "free" means no regular rhyme or regular beat; whereas traditional blank verse is blank of rhyming end-lines but has a consistent rhythm. For instance, accentual syllabic (metric) verse may consist primarily of iambic feet or, perhaps, the reversal of the iamb – a trochee. An older style of traditional verse may be an accentual form, such as a two-beat strong-stress line, or may be syllabic verse comprised of a set number of syllables per line. With such factors in mind and the category appropriately labeled, the poet stands a better chance of placing a well-crafted poem.
Written by and © Mary Harwell Sayler, Poetry Chairman
With arresting childhood memories, irony, and humor, Speaking Peach addresses the defining moments a Southern poet finds her voice. Written by poetry instructor and competition judge, Mary Harwell Sayler, the 40-page chapbook is available for $10 from the poet at PO Box 62, Lake Como FL 32157-0062.
How To Judge Your Manuscripts For Children
Written by Mary Harwell Sayler
Every time you enter a children's story, poem, or article in a reputable writing contest, such as the annual competitions sponsored by CNW/FFWA, you automatically become your own first judge. Assuming you have more than one manuscript from which to choose, you're the first person to read your words and the first to know if your chosen entry represents the overall quality of your work. If, however, you have trouble (as writers often do) in deciding which manuscripts might be "winners" and which need further revision, these questions may help you to improve your judging skills:
- In nonfiction, does your first sentence present your topic clearly, so young readers know right away what the article is about and why it might interest them? Being cleverly creative in your opening sentences can be a plus if your subject matter remains clear, but in a well-written manuscript, clarity matters more than creativity. A "winning" manuscript, however, usually displays both qualities.
- In the opening chapter of your novel, does the first page initiate an action that involves the main character and introduces the basic problem or plot? Does this sense of immediacy begin with the first paragraph of your short story?
- In considering your poems, do your key words, phrases, or comparisons have a strong connection to your primary image, tale, and tone? If, for instance, a poem compares (A) late homework to (B) a delayed telecast, does each line consistently relate to A and/or B with nothing to hinder the interaction of those ideas?
- Do the manuscript's opening lines, including title, reflect the overall mood? For example, a wordplay or amusing phrase can provide a lively title for a humorous story whereas a one-word symbol could be effective for a serious poem.
- For all types of writing, do your words move along with easy-to-picture nouns (sandpiper instead of bird) and active verbs (skittered) rather than passive voice and wordiness (is running nervously back and forth)?
- Is the reading level appropriate for your intended reader? With few exceptions, a well-written manuscript for young children presents thoughts, dialogue, and statements in simple words and sentences a child would actually use. For middle-grade readers and up, difficult words can often defined by their context.
- Is the content appropriate for your chosen age group? For example, a topic that's "too adult" usually means the examples or situations are not ones a reader of this age cares about or encounters. However, the more your readers can relate to your story, poem, or article, the more likely they'll be to read it.
- Did you enjoy reading your manuscript again and again? By the time it gets to me or another contest judge, your work receives an increasingly thorough reading with each upward advance.
- As you read aloud, does anything signal a flaw? If so, trust your editorial instincts. By identifying a problem, you'll usually find workable solutions too. If not, put the manuscript away and judge another article, story, or poem you've written.
- If you can't declare a "winner" among your manuscripts, don't despair! Talk to children. Visit the library. Surf the Internet for poems and stories children have written to see what's on their minds.
- What's on yours? Does a memory search remind you of events that impressed you as a child? Is there a topic you're eager to explore? Are you involved in a hobby or activity that appeals to children? Will your words entertain, interest, help, or encourage young people in some way? Who? How? Why? You be the judge.
A well-published children's author, freelance and assignment writer, and poet for over 30 years, Mary Harwell Sayler judges poetry and the manuscripts for children entered in the annual writing competitions sponsored by Writers-Editors Network. Her Web site is www.catholicpoetsandwriters.com.
Poetry: Taking Its Course - an 8.5x11 textbook written by Mary Harwell Sayler. In seven sessions, you'll learn how to improve your poetry with -
I. "A Sense of Purpose" for your poems, including theme, interesting content, and fresh perspective
II. The Language of Poetry found in figurative speech
III. The Significance of Sound in rhyme, rhyme placement, and other interesting sound effects
IV. Rhythm: The Poem's Heartbeat
V. Traditionally Good Form as found in classical fixed forms and stanzas
VI. Blank Verse Versus Free
VII. Professionalism & Publication session followed by Q&A.
To order your autographed copy - $25.00 (shipping included) - follow this link to buy through either PayPal or via our secure shopping cart. Please allow 2 to 3 weeks for your book to arrive by media-rate mail.
Contest Cautions
At their best, writing contests provide motivation to complete those stories or poems, encourage winners to keep writing, and even pay top winners a bit of cash.
At their worst, writing contests rob you of your rights – and sometimes of your money.
I've been administering a national writing contest for 24 years, and have been reviewing contests for posting approval on our Writers-Editors.com Contests page since 1998 – and I think I've seen everything. I refuse to post at least one contest almost every week. The good news is that most writing contests are on their "best" behavior. But here are some "worst" things to watch out for and be aware of –
● Entry fees. Actually, no entry fee is a warning sign. Contests cost time and money to administer, judge, and provide prizes. If there are no entry fees, who's paying for it all? Too often the no-entry-fee means the contest sponsor will be coming after entrants for something later.
Sometimes the "later" is in the form of a book of winning entries. And everyone who buys a book is a winner. The book may be fairly expensive, and surely the winner wants multiple copies for friends and family. Too often, these are not really contests, with one's work judged on its merits by professionals in the industry; but rather publishing entrepreneurs playing on writers' (especially poets') vanities. You buy books, you win.
Other times, the contest producers take it a step further and put on conferences with poetry readings. Entrants receive engraved invitations – because you are a winner, you get to attend and read your poem. Everyone is a winner. The producers make their money on the conference packages and books sold to attendees and entrants.
This is not to say that all no-fee contests are bad. But when you run across one, keep digging deeper into the fine print until you can find out who's funding the costs. In a very few instances, you will find a legitimate corporate or educational sponsor, but these are rare today. Even university-supported contests usually have minimum entry fees to (1) keep the not-serious writers out, and (2) help defray the costs.
Typical legitimate contests have entry fees of $2 to $5 for poems (sometimes three poems for $10), and $5 to $25 for articles, short stories and novel chapters. A complete book contest entry fee may run as much as $50. Such fees will cover much of the prize money, some administrative time, and decent honorariums for multi-level judging. No one - not the sponsoring organization nor the judges – will get rich off it, but it will cover enough of the time and dollar costs to make the contest viable.
● Ridiculously high prizes. Typically, contests within these entry fee ranges and with several hundred entries will have multiple cash prizes of $25 to $100 or $300. Contests with no or low entry fees offering $25,000 awards do not make financial sense. Keep digging. And hide your pocketbook, checkbook, and credit cards.
● Rights grabs. A number of Web sites have contests with entry fees, where each and every entry is posted to the Web site – either for reading or judging. When you enter these contests, be aware that (1) you are paying to provide these sites with their content (nice business model for them); and (2) you can no longer sell first rights to the material because it's already been "published" as soon as it's posted.
Other contests state in their rules that they retain the right to publish all entries! – with nothing said about any remuneration to the authors. It's one thing to ask for one-time print anthology rights of a dozen winning entries – quite another to assume any rights to all entries.
And some of those "free" contests sponsored by corporations retain all rights to all entries, especially the advertising jingle and greeting card verse contests. Of course, they can't do that unless entrants sign a statement transferring all rights, so be especially aware of lengthy entry forms with lots of fine print that require your signature.
Bottom line – Being among the winners in a writing contest can motivate you to keep writing, help place your book with an agent or publisher, or simply make you feel good. Just make sure you aren't giving your work away - or even worse, paying them to take it!
Written by Dana K. Cassell, Executive Director, Writers-Editors Network.
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