How we select poems for publication

How we select a poem Printer friendly version

We use the following criteria: Imagery Economy Words Message Line Ending Layout Mechanics Subject
Revision (Click on one of the links to get to the subject)

A poem requires a design... Poems are sensory and detailed... A poem must have a necessary quality of detail — enough to sustain the reader’s passage into the imagined world of the poem... The language of the poem is one thing compared to another thing... In the metaphorical device, the first (the known) delineates some essence of a known thing... This essence is then extended so that it applies to an unknown thing. Mary Oliver

Imagery – The representation of one thing by another. It is figurative in that it means more than it says. A good poet makes use of the tools of imagery — metaphor and simile among many others. Often, the poet makes an subtle, imaginary leap from what we thought was the subject to the real subject of the poem. We look for fresh, original images that work with the poem. We feel a few good images are sufficient. Run-on, convoluted imagery may derail the reader making bad poetry even when original.
Economy of Language – poems should be condensed and concise, free from words that do not contribute. Is the poem 'overweight’ with unnecessary words or has the poet sent it through Word Watchers?
Word choice – So much of a good poem depends on the words used. Word choice is synonymous with buying shoes or a tie to match a new outfit. Most poets could agree that using one word that drives you to the dictionary is acceptable, but more than one pretentious.
Message – Is it fresh? Has it been said before? Is it relevant to people's lives? Does it make us ponder. Does it instill in us a sense of wonder?
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The Line – One difference between prose and poetry is poetry does not usually pay heed to the right margin. Turning lines at the right moment is a poet’s intentional decision to be felt by the reader. Placing a phrase or a word on a line by itself, and it immediately becomes critical. Does the poet show knowledge and command of line length, breaks, and rhythm?
The Ending – Good poets sets up the ending of a poem to surprise us, please us, or cause us to think deeply about the subject.
Layout of the poem – Is the layout of the poem going to cause the editors a problem? Is the poem hard to fit on the page? Are lines unusually long forcing editors to decide where breaks should come? Does line length fall within the customary margins set by the editors? (@ 4.25 inches at Times Roman 12). If not, how will the poem look juxtaposition to one that does conform? Does the poem fit on one page? Does a two page poem warrant taking space where another poet could be published?
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Mechanics (Grammar/Punctuation) — poems that have unintentional grammatical, punctuation or spelling errors might reveal an inexperienced or impulsive poet , something good poets are normally not. These poems are usually rejected immediately. However, a good poet might take a "risk" with language rules for a purpose.
Subject Matter — Is the subject matter worthy of the reader’s time. Does it use acceptable language, or does it use foul language for shock value? Does the subject appeal to a wide audience of readers, or is it only to be understood by a few?
* Revision - Sometimes, if editors have suggestions they believe will make a poem stronger, they will communicate with the poet about possible revisions. Some poets may take offense at the thought of a suggested revision. Please remember, however, meaning only exists in the mind of the listener/reader, and if editors are confused about the message, it might serve the poet well to listen to them. The poet does not have to agree or follow the advice. Our editors have accepted poems when suggestions were made and the poet did not agree.