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We look for well-crafted poems under 61 lines. If line length exceeds 50 characters, lines may be broken at the discretion of the editor. We publish two reviews a year, Fall / Winter and Spring / Summer. Deadlines are August 31 and the last day of February. Last minute submissions will be accepted if they are postmarked on or before our deadline.

Any poem should be single spaced and indicate where the verse breaks occur. Poems must bear the poet’s name, address, e-mail address (if any), and telephone number. Submit up to three poems (non-contest and contest submissions). A brief biography must be included or poems will be returned until one is submitted. Simultaneous submissions are allowed, but we do not accept previously published work. If you intend to simultaneous submit your poems, you should state so in your submission cover letter. However, once we have notified you that your poem has been accepted, it will be published as a first time publication. All rights revert back to the author after publication.

Payment for publication in Common Ground Review is one copy containing your published poem.

We do not accept responsibility for incorrect submission guidelines, either information obtained from other websites or outdated issues of Common Ground Review.

Poems will be returned if accompanied by SASE with postage equal to the cost. Poets whom we publish will receive one free copy. We do not accept poems by e-mail

Send all poems to:
Larry O’Brien, Editor, 40 Prospect Street, Unit C1
Westfield, MA 01085.
http://www.cgreview.org

For sample or additional copies send $12.50, Non-US $ email us, each (S & H included) to: Common Ground Review,
43 Winton Road,
East Windsor, CT 06088.

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?
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?
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.