True, the small furry rodent in the picture is a squirrel, not a guinea pig, but surely that further justifies the post title, which says I’m looking for guinea pigs.
I need them because I’ve just published an online video course – The Essential Poet’s Toolbox for Readers and Writers – on Udemy and I need some students. (If you don’t know about Udemy, it’s got lots of interesting courses in all sorts of areas from lifestyle to business to technical, some free, some not. You need to create a user account, but once you’ve signed up for a course you have access to the content for ever without paying any more.)
The Essential Poet’s Toolbox for Readers and Writers takes a non-technical look at modern poetry, grouping the tools into five main areas: metre, form, rhyme, layout, and sound. It’s gone on sale at £35 (for 2.5 hours of video lessons) but I’m giving away discount coupons. Continue reading “looking for guinea pigs”
If you get a group of writers together, it’s pretty much impossible to come up with a definition of poetry that they will all agree on. One of my personal favourites describes poetry as “the genre where the writer has more control over the presentation on the page than the layout artist does”, but I’ll admit it isn’t tremendously helpful.
This quote from Phil Roberts is another of my favourites:
The most complex and ‘adult’ word-game of all: the poem.
The idea of critique and criticism** has cropped up on a number of occasions recently, including at the poetry group I attend. There, it seems clear that some of the less experienced writers feel they shouldn’t be commenting on, let alone criticising, the writing of the more experienced group members. I think they are wrong for two quite different reasons. Continue reading “critical thinking I”