Alison Chisholm (Guest)
Six Poems

Richard L. Provencher
Four Poems

JB Mulligan
Five Poems


Nnorom Azuonye
My e-Conversation with
Alison Chisholm


Past Issues


NA: In "The Craft behind The Art" ( Vera Di Campli San Vito writes on The Craft of Writing Poetry, "Alison Chisholm says she wrote the book she wished she'd had when she was starting out. In the past, books which analysed poetry were mostly English literature text books which would show how to deconstruct a poem, rather than show how to construct one." Tell me about this book, what are the key tips you present in it that every poet might find invaluable?

AC: The book takes its reader through the whole process of writing a poem.  It starts by looking at the people who are writing and why they do it ... then explains about getting ideas and developing them through the technical and artistic processes required to bring them to life in poetry.  There is advice about what to do with the poems after you've written them, too.

NA:  You have previously run a poetry course at Swanwick: The Writer's Summer School. Is this an on-going course? What does it seek to accomplish for the poet? Is it open to all and how successful has this programme been in helping aspiring poets get closer to their dreams?

AC: A number of writers' schools and conferences offer courses on poetry, as well as other aspects of creative writing.  These give an opportunity for
studying the craft of poetry with an experienced tutor, or gaining ideas and refining your writing in workshop groups.  Any networking with other poets and studying with tutors can be beneficial to the writer.

NA: You are a regular poetry competition adjudicator, and I have enjoyed some fantastic poems that have won including A.C. Clarke's "Remaindered Poets" (Envoi 117). You have also (with Iain Pattison) written "Writing Competitions - The Way To Win." This almost sounds as if it is not enough to write excellent poetry. Besides, there are a lot of people who hold the view that pay-to-enter competitions are in a way some kind of vanity and a way of funding the commercial press. How would you respond to these, especially to the suggestion that poets who do not crave validation of their work will never send them to one of these?

AC: The best advantage you can give yourself when entering a competition is to ensure that the work you submit is excellent, exciting and original.  I do not know of any pay-to-enter competitions that yield vast profits.  Given the expenses of running a competition, breaking even is the goal of most competition organisers, who are doing it to help and encourage poets rather than for commercial gain.  Entering a competition will not massage a writer's vanity - it is far more likely to give him/her an inferiority complex, as winning is extremely difficult.  But there is a fascination in pitting your skills against those of your peers which many poets find irresistible.  The book and the competitions themselves exist so you can give yourself the best chance to do this.