Meddling with Poetry will next run in Spring 2022. Email email@example.com if you'd like a reminder closer to the time.
Poetry is for meddling with – part playground, part Dark Art – and for using. It's vital as an art form, as one of those things humans do (like singing in the shower and making food), and as an invaluable way of expressing yourself and processing thoughts and feelings. Writing poetry is far too useful to be locked away in an elitist golden cage: I want it to fly free and be accessible to everyone.
As with all my courses and workshops, this course is designed for absolute beginners and experienced writers alike – whether you’re still a bit scared of poetry from school, or working on your third pamphlet of acrostic wreathed sestinas. We’ll look at the musicality of language – rhymes, rhythm, and the effects of repeating different sounds, at poetic language and imagery, and at dozens of different forms, each of which allows you to play in a different way.
POETRY FORMS: A wide range of forms, including traditional rhyme-and-metre forms, Japanese syllable-count forms, forms based on repeating phrases or words, and free-verse forms that follow other patterns
RHYME AND MUSICALITY: What counts as “pure” rhyme and other types of rhyme, ways of finding rhymes and tips for using them effectively, alliteration (repeated consonants) and our associations with different sounds, and assonance (repeated vowels) and how they speed up or slow down a poem
METRE: How to mark word stress and the special patterns of some types of words, how natural sentence stress works in English, the English “beat” and the different rhythms we can create with that
POETIC LANGUAGE: Working with imagery, the power of unexpected phrasing, economy of language, and a sense of meaning
Each lesson is themed around a poetry form and weaves in the other three strands, with time to write or start writing a poem in class.
Free verse (no set rhyme or metre) lets us focus on everything else that makes something a poem – especially imagery and turning abstract thoughts into tangible images that use all the senses.
Old English poems are a joyful riot of alliteration, a great way to start playing with the musicality of language. They also invite kennings (where the river becomes a "swan-road") and offer a useful introduction to word stress.
Rondines are greedy for rhymes, so we’ll use these to explore how to find multiple rhymes, words which unexpectedly have very few rhymes, and how to use your rhymes to best effect.
The tiny cinquain makes every word count: the perfect form to practise economy of language, and to try out the many poetic devices we can use to fold meaning into small spaces.
You can’t control a sestina, you can only follow it and see where it goes, so it teaches you to go with the flow of your poem, and invites all the poetic devices that create a strangness in our words – plus a lot of fun with words that have multiple meanings.
The decuain is the ten-by-ten: ten lines, each ten syllables, but you can pick whichever metre you like for it, so it’s a great way to explore the effects of different metres and natural sentence stress.
A poem needs a meaning but it needs to stay open to the reader, too. Writing a glosa of another poet’s lines creates the perfect litmus test: does each line give you enough to explore it, and does it let you explore it or does it belong completely to them, with no room for you?
All the poetic forms were invented, whether centuries ago or a few years back, and we always get to keep inventing. Inventing forms is a chance to explore everything English rhythm lets us do as well as recap all the features of forms and poetry we’ve covered throughout the course.
Email firstname.lastname@example.org to get a reminder when the course is next running
or read on for more info
Each week, you’ll also get a booklet of poetry prompts for the week ahead, with a mix of suggestions for topics, new forms, and stylistic approaches to play with. I encourage you to take the “poem a day” challenge, but for those who’re busier, you can set your aim for whatever works for you, and you can reset which you’re doing on a weekly basis. You'll always have time to write in class as well.
NB: Writing a poem a day doesn’t mean writing a great poem a day! This is like an artist doing daily sketches, not daily oil paintings. Lots of them will just be trying out new forms with doggerel, or little exercises, which will feed into your “oil-painting” poems. Through the booklets, you’ll also discover many more forms than we can cover in class alone, including a range of “quickie” forms for when you need to write a very hasty poem a day!
Individual feedback: In weeks 4 and 7, you’ll have the opportunity to submit a poem for individual written feedback.
Peer feedback is valuable with all writing and especially so in poetry. In the first week, we’ll look at how to give useful supportive feedback, what kinds of things you can comment on, and what to do if you’re struggling with someone’s poem. For the next six weeks, you’ll have peer feedback on one of your poems every second week in small groups of 4, maximum. You’ll be able to choose the poem beforehand: I’ll never ask you to share a poem you’ve just written in class.
This course got me writing poems, I had great fun and learned so much. Classes focus on free verse, sensory imagery, effective rhyme, natural metre and economy of language amongst others. The 8 week printed booklet you collect during the course is an incredible resource for future reference, packed full of information on more than 50 different poetic forms and techniques, I found a lot of the 'quickie' short poetry forms were a great threshold to having a go, and even odd phrases in bad poems I wrote turned up later in better shape or fed into fictional prose. As always with Megan's classes, the atmosphere was friendly, informal and uncompetitive with lovely people. You're never forced read out something you've just written in class, so nobody plays Wack A Mole with emerging confidence! Thanks, Megan.
Sal, 10 May 2019
The poetry course was excellent. We received so much input and new poetry forms to try out, exercises and feedback. It was fun - achieving a great balance between fun and working hard at the craft. Megan is lovely! She knows her stuff and has created one of the best courses I've been on.
Inkywriter, 30 Apr 2019
I chose Meddling with Poetry because I had just done the Starting Points course last autumn, and began to have an inkling that I maybe enjoyed expressing myself more poetically. The Meddling with Poetry syllabus was a good introduction to all different kinds of form. Megan's teaching style is so much fun. I love that we sit in small tables and do lots of group activities as well as some exercises alone in class. There is so much interaction and it never fails to stimulate my creativity. There are grapes, and tea and biscuits which is so reassuring.
I learned so much from the Meddling with Poetry class. I'm more naturally about spontaneous creative self-expression, mostly through painting. But this class taught me a real appreciation for form and how to break things down to tackle writing in a form. I got so much from the experience and great satisfaction from what I was able to write during the course period. The people who take these classes are great people too. I really enjoyed the social aspect a lot also.
Anita, 1 May 2019
I took Megan's Starting Points course in Oct-Nov and Meddling with Poetry in Feb-Mar 2019 and both were wonderful. Each class is well thought out, well resourced, fun, practical, engaging and social in a creative, cosy environment. All led by Megan, knowledgeable and ever-encouraging. In all courses there are opportunities to give and receive feedback on your writing which is incredibly valuable.
Each lesson is designed to spark inspiration and creativity in various ways, and they succeed. I miss being there each week and I suppose others do too as so many people attend course after course.
Meddling with Poetry was running for the first time ever when I joined. I hadn't really written any poetry since school but I never felt discouraged. The message was just to keep on writing, playing, observing and enjoying language.
I would recommend any of Megan's courses to anyone at any level of writing ability.
JK, 30 Apr 2019
Can't wait to start? Curious to try some of this poeming business out? In the 16 weeks running up to the first poetry course in 2019, I released a new type of poem for you to meddle with each week. Click on each pic for more details about it.
This course is currently running online. The Spring 2022 course will be in Upper Wolvercote (North Oxford). There's free parking, a great bus route (#6), and beautiful canal-side walking routes.
This course will next run in Feb–Mar 2022.
8-week courses are currently £275. This will rise by Spring 2022, in line with inflation.
Email me if you'd like a reminder about this course closer to the time.
I won't share your email with anyone else. You'll get emails from me only, about upcoming courses, writing competitions, publishing opportunities, interesting articles about writing, new blog posts, and creative events in Oxford. All emails are sent via MailChimp and you can unsubscribe at any time. Add email@example.com to your address book if you want to keep the emails from vanishing into spam.