Pushing the Boundaries

Yesterday I was in the studio recording a series of short radio shows in my Poets Corner slot for CrossRhythms Radio. The show is divided into two short sections with a music track played in between. In the first section I provide some background and context for my poem choice, and in the second section I perform the poem. It's simple but effective and the shows go out every weekday afternoon. 

In one of my shows yesterday I talked about experimental poetry and told the story of how I became interested, and then inspired by avant garde poets and writers. Here's the story again for those many of you who will never get the chance to listen to the show.

I was in my late teens, and had been writing poetry for a short while during my school years. Now in my first job at a local college, I was seconded for a week or so to work in the college library. It was quite a large library in several floors, and the book stacks were huge. One of my tasks was to preserve some of the paper back books by removing their covers, and then rebinding them in hard covers, with the original paper outers incorporated into the new cover. It was fun, although fiddly, and I always managed to get my fingers covered in glue. 

During this time, the library was disposing of many of its old stocks of books. These included poetry and other literature. I spotted a pile of old poetry books and asked one of the library staff what was happening to them. She replied that they were being thrown out, and that if I wanted any I should just take them. I carried a boxful home with me, and I still have most of them in my collection. 

Some that caught my eye included works by e. e. cummings, Charles Bukowski and Philip Lamantia. These great American poets wrote amazing out-of-left field poetry that left me gasping for breath. I never knew that the English language could be manipulated in such inventive ways! Then I read the work of Welsh poet Dylan Thomas, who created vast lyrical landscapes of metaphors, similes and wordplay that inspired me even more.  

Soon I began to write in similar ways, not in blind slavish copying, but through experimentation and trial and error. I began to perform my new experimental poetry live, and got more positive responses than I did negative ones (you'll always get both). I'm now at the point in my poetry life where I feel I can push the boundaries continually to try to find new ways of experessing myself and new ways of manipulating the English language to create new wordscapes. 

My interactive textbook Creative Deviance and more recently my poetry collection eXp exemplify this creative risk taking and showcase what I have found to be possible. I hope in time these books will inspire poets to push their own boundaries just as cummings et al inspire me to push my own.

Steve Wheeler

Photo (c) Wheelsong Books Ltd

SPECIAL OFFER: If you purchase a copy of Creative Deviance directly from Wheelsong Books: wheelsong6@gmail.com you will also receive a copy of eXp absolutely free. 

Seriously funny

A few remarks on my blog post from yesterday got me thinking. It seems that some poets believe they cannot be taken seriously if they write comedic material. Yes, there are those who specialise in dark and moody poetry. Many do it very well. Some though may feel rather depressed reading it, while others are uplifted by sorrowful poetry. Perhaps these are thinking, I'm glad that's not me! But generally, dark and mournful poetry tends to bring the mood down a little. 

So what about lighthearted poetry? Poetry that is comedic, absurd and even flippant? How does that make us feel, and are we still taking it seriously if we are laughing and giggling? 

Yes, very much so, otherwise, why would we be spending time reading it? Some poetry can be funny and serious at the same time. Poetry about a serious subject that has a comedic twist has impact.

Humorous poetry can be uplifting, improve our mood and perhaps it even inspire us to write our own comedy poems. I can think of many poets (some are even in my online groups) who write seriously funny poetry. One of course, is our own Graeme Stokes. His poetry is cheeky, often very droll, and sometimes contains sledgehammer wit, all wrapped up in incisive social commentary. Go and check out his Wheelsong Books collection Off the Top of My Head to appreciate what I'm saying.

Some of my favourite humorous poets include John Cooper Clarke, Roger McGough and Brian Bilston. I have collections by all three on my bookshelf, because although each is unique in his style, they all have the same effect on me - I laugh out loud, I shake my head at the brilliance of their wit and humour and I feel inspired to create something similar. Personally I like to bridge the gap and write poetry from a dark or dry humour perspective. 

Have you ever broken out of the mould of sorrowful and mournful poetry and tried to write humorous verse? Have a go and see if you can. You might be pleasantly surprised. That would be funny wouldn't it?

Steve Wheeler

Photo from Flicker used under a Creative Commons licence

Are you being taken seriously?

This is an opinion piece, and I anticipate a bit of flak from some people, but I write this post from a position as an editor, publisher and owner/founder of four successful online poetry groups. And do bear in mind, this piece has been written to try to help poets improve their chances of being noticed and possibly even published in due course. 

Please comment in the box below if you want dialogue on this subject. I'm very happy to reply to serious questions and comments. 

How can you be taken seriously as a poet? Firstly there will be some who might reply that they don't really care whether they are taken seriously or not. But I suspect that most people who write poetry want their work to be taken seriously. At the minimum, most poets would rather not be ignored. And yet that is exactly what I see happening in my online poetry groups. Poeple post poetry that is ignored by most. Or it is poetry that fails to get accepted for anthologies or other publications. 

Pen Names. Firstly, writing under your own name, or at least a pen-name that is not ridiculous is an absolute requirement. How you represent yourself is very important, Those who use contrived pen-names, or noms de plume that are jokey do not generally have their work taken seriously. At Wheelsong Books our editors tend to ignore those who we can't take seriously, and the first impression - the name of the poet - is important in setting the atmosphere for any review. 

Emojis. Secondly, the use of emojis and other embellishment in a poem is often a turn-off to a reviewer or reader. The question must be asked: why does the poet use lots of smileys, hearts, and other emoticons in their work? Is it because they lack any confidence in their own writing? It is certainly a distracting feature, and as an editor/reviewer I tend to ignore poems with an overload of emojis. 

Upper case lettering. Thirdly, poetry that is presented totally in upper case lettering seems amateurish. In old money, upper case lettering was considered shouting in text and social media cultures. In poetry, the overuse of upper case lettering makes it appear as though the writer is desperate to be noticed, and again, they lack confidence that their writing alone will keep the attention.

Be original. Fourthly, if you wish to be taken seriously as a poet, make sure your work is original. There is nothing worse in poetry than reading old, jaded phrases that others have used before. The forced rhyme or the predictable line is a clear indication that the poet is struggling to express themselves and maybe has lost their way.

AI Generated poetry. Finally, as an addendum to the last point, you won't be taken seriously (and may even be sanctioned) if you persist in submitting or posting poetry that has been generated by artificial intelligence. You would be surprised by how many posts each day we reject from our online poetry groups. You might also be horrified at the number of people we ban from the group if they persist in this practice. It's dishonest and might even be breaking copyright laws.

So there you have it. Five key points to remember if you wish to be taken seriously as a poet. I believe most of these apply to online poetry groups worldwide, and definitely apply in the publishing world.

Steve Wheeler 

Photo from Wikimedia Commons

Poetry and Artificial Intelligence

Occasionally we host guest posts on this blog. They are often topical, provocative or simply informative. This guest post by Dr. Iain Strachan is all three. As always, your comments and questions are welcome.

Can AI pass the Turing Test today? by Iain Strachan

In a Invisible Poets Road Show in Derby, Steve Wheeler asked me if I thought AI had passed the Turing test. I replied "Yes ... and No." 

I had just read a poem "A chatBot named Christopher" about Alan Turing, where I had claimed that the answer is "No".

However, AI-generated poetry continues to fool us again and again. I have been fooled by it. I once praised someone's Villanelle on Invisible Poets that on closer examination turned out to be AI generated.

Why does this happen? I think it's to do with the way we interact with pop songs. I asked a member of my family "When you listen to a pop song, do you think about the words?" He replied "Not really. If I know the words, I'll sing along to the tune, but I don't think about what they mean."

I expect most people are like that. Pop songs have to be singable, so the lyrics fit the tune, and so we are only engaging with the words on a superficial level. So they need to flow smoothly, have simple rhyme schemes etc.

Human poetry is different. It doesn't always have a smooth iambic pentameter rhythm; for example:

For thou'rt slave to fate, chance, kings and desperate men (John Donne), or
The soil/is bare now, nor can foot feel, being shod (Gerard Manley Hopkins).

See how the strong syllables pile up with no light syllables between. The Hopkins also has enjambment, where the sense carries on over the line break. Song lyrics don't do this - normally each line stands alone.

It's the same with AI generated poetry. It is polished, and flows nicely; each line is self-contained. But, whereas with a pop song, you can find depth and meaning in the lyrics: a story told, or a telling metaphor, if you examine an AI poem carefully, you won't find any depth; it falls apart as a sequence of poetic sounding phrases and clichés strung together with no clear overall message.

So if you find a poem that seems super smooth and polished, take a closer look before you enthuse about it. Don't give the AI fakers their serotonin boost! If it's AI, it will fall apart and you'll find the words of my chatBot poem to be still true:

Chatbots today can't pass the Turing Test
Their show of understanding's fake, at best.

Iain Strachan

Image used under a Creative Commons License

An Invisible Poets roadshow near you?

I mentioned on Live Poets Society UK recently that I was considering the possibility of taking Invisible Poets on the road. By that, I meant bringing a live poetry show with performances, interviews, book launch, open mic etc to a place near you. It's a grand ambition and quite daunting but not one that is impossible. I would need local organisers who were willing to commit to doing some local organisation, promotion and other preparation to make an event happen in their home town. So what would be involved? Putting on a roadshow can be complex, and work needs to go into organising, but there are some tried and tested formulae. 

Here are a few ideas and a checklist of things that would need to be in place to stage a successful Invisible Poets event in your home town.

1) We would need a secure venue. It doesn't need to be a massive space, just a place which is lockable, and where we can set up a small performance area, possibly with staging (not essential), and a power supply (required). Wheelsong Books would provide the public address system and lighting rig. Easy chairs for interviews would be required, depending on which poets are being interviewed. 

2) A table somewhere in the venue to display books and merchandising. Wheelsong would supply the materials for display, the merchandise and the paying facilities.

3) Publicity and promotion of the event. Wheelsong Books would publicise through social media, but it would also be up to the local organisers to put the word out that the event was happening, and to do this at least 4 weeks in advance of the event. 

4) Accommodation near to the venue if the host/MC/invited poets required overnight accommodation depending on the travel distances. 

Wheelsong Books would sponsor the event, and that would mean there would be a small ticket price which might also include free merchandise from the book stand. Ticketing would be managed by Wheelsong Books, through an electronic ticketing service, or pay on the door. 

The essential Invisible Poets Roadshow might include the following elements:

a) Headline performances by invited/guest poets

b) Performance by the host/MC

c) Interviews and question/answer sessions

d) Open Mic session

e) Specialist writing workshops (for all day or half day events)

f) Book launches and signings

g) Meet and greet sessions with authors

h) Social event

So who is up for organising an event, either somewhere in the UK (we can do these fairly easily) or farther afield? Please respond in the comments section beneath this post, or email wheelsong6@gmail.com to discuss this idea in more detail. 

Steve Wheeler

Image Copyright by Steve Wheeler, 2025

P.S. The first event is currently being organised in Derby, England, for Friday 30th May 2025. We aim to raise as much money we can for Save the Children, so please do come along if you can and support this event!

Images and Image

Several members of Invisible Poets showed their nastier side recently. They are all off looking for another poetry group now. 

My post about use of images, poets' over-reliance on their use, and the dangers of using copyrighted images went down like a stone balloon with some members. Perhaps I touched a nerve. I was called arrogant, narrow minded and a few other choice epithets. One even asked me who had made me 'the poetry police.' 

These are of course, all what we call ad hominem attacks in the philosophy world. Or in sporting terms... they were playing the man rather than playing the ball. I love a good debate, but when it comes to personal abuse, I don't tolerate it. Invisible Poets is founded on respect and care, and these individuals crossed the line. 

My points were twofold. 

Firstly I questioned the reason why some poets felt compelled to add images to their poetry (some are repeated selfies and other even less relevant, but spectacular images) when in fact good poetry has the capability to entrance with its words alone. In the words of one of our members, many images seem like click-bait. Other members said they scroll past the images because it puts them off reading those poems. 

My second point, perhaps even more importantly, was that many poets in the group are using copyrighted images. They clearly haven't checked to see if they can use them, and in doing so they run the risk of a lawsuit by the owners of the copyright. One person even remarked to me about 'my purist views'. I replied that they are actually legal views.

Let me make it clear. There are legal consequences. 

You should assume that nothing on the Internet is free-to-use unless it is clearly labelled as such. Most images, photographs, artwork etc are the property of someone. There have been several recent court cases where individuals have been sued successfully by the likes of Getty Images and the New York Times. The damages awarded are not small. If you use images without permission, or simply purloin them without thinking, you could be in serious trouble. It is not good enough to post an image and then state: Credit to the rightful owner or similar. This not only demonstrates that the poet has no idea where the image came from, it also shows their ignorance and laziness. Worse, it shows that they really don't care at all about their theft of someone else's property. 

I was trying to convey this warning to our members, but several were abusive to me. They didn't want to be told by anyone how they should behave online. This kind of incident certainly causes the bad ones to show their true colours. 

Here's some good news. There are plenty of sites where you can obtain and freely use images, photographs and graphics. Unsplash and Pix4free are very good sites to use for non-copyrighted materials. Another way to find free to use images is by using Google search and selecting Images. Next go to Tools, and select Usages Rights. Find Creative Commons Licenses and then you can check the free-for-use licences of images available. 

Finally, let me repeat it here for anyone who cares to listen: If you must use images, please make sure a) you own them yourself b) they are licensed for free use, or c) you have permission from the owner of the image. 

Steve Wheeler

Image used under a Creative Commons Licence

 

Sowing the poetry seed

You and I both know--because we are poets--that poetry is one of the greatest, most expressive art forms there is. We also know that it takes a lot to convince some people that it's a worthwhile pursuit. Often we are met within indifference, apathy. It's clear that some others don't share our passion. 

"Yeah, well. Not really into poetry..."

"Too many thees and thous for my liking..."

"Poetry is boring..."

I'm sure you've heard these types of remarks before. I certainly have. Many times. It's a shame because poetry can be very exciting, dynamic, liberating, inspirational. 

As a poet you owe it to your friends to switch them on to something good!

So what does it take to get people interested in poetry? Well, you need to sow some poetry seed.  Here are a few things you could try:

1. Buy your friend/family member/work colleague/cell mate a copy of one of a great poetry book. One of the Wheelsong anthologies for example. They are packed full of premier poetry, and the poems are diverse. There's something in these books for every possible taste.

2. Show them a video of a poet performing their work. The more dynamic the performance, the more impact it will have. 

3. Set them a challenge to write a poem. Get them to read it out, and then, together, go through it to find the strong points, and areas where it can be improved.

These are all great ways to encourage people to get interested in poetry, but the last one is probably the most powerful. If they realise they can write their own poetry, they will definitely start to build an interest. 

Steve Wheeler 

Image used under a Creative Commons licence

Why some poets use Artificial Intelligence

In my previous post I explored why some people behave badly online. As a psychologist, it fascinates me, but I guess I have an insight into online behaviour from twenty years of academic research. I would argue that this makes Invisible Poets one of the safest online poetry groups in existence. This... and the fact that we also have a computer science expert on our moderator team...now, how many other poetry groups have that?

You see, one aspect of bad online behaviour, and indeed bad poetry behaviour, is the fact that some individuals resort to using artificial intelligence to write their poetry for them. As if this was not bad enough, they then have the gall to claim it is their own work. They are quickly found out and subsequently ejected from Invisible Poets. We use various software to detect AI generated poems, but we don't always need it. AI generated poetry is not that hard to detect. When we spot an AI poem we then delete the post and if necessary (especially for repeat offenders) we eject the 'poet' from the group. They are often simultaneously banned from several other affiliated online groups. 

Why is posting AI generated poetry such a crime?

Firstly it's dishonest. If you use AI to write a poem and then post it to a group with your name attached, you are deceiving the members of the group. Those who do this are firstly touting for responses, likes, comments etc. Maybe they do so because of some psychological inadequacy. More likely they do it because they are lazy or untalented. They do so because they want a short-cut to being recognised by the poetry community. Sadly, many poets are taken in by the deception. 

Secondly, it's plagiarism. If you use an AI model to write poetry, you can be assured that what it is really doing is trawling the web and finding work written by poets, which it then captures and uses in its construction. That's essentially stealing from poets some of whom may rely on their writing to earn their living. 

Thirdly, it's a terribly shallow way to produce poetry. Often the AI model doesn't construct a poem in a way that makes it emotional, or full of soul. That's because the AI model has no emotion or soul. The work tends to be shallow, unconvincing, and certainly predictable. The end rhymes suck. The meaning is often lost because then end rhymes are forced. There is often no meaning or direction in the poem. It is bland and uninspiring. 

There are numerous tell-tale signs that a poem has been written by AI. I won't bore you with details here, but when our Admin and Moderator team spot a poem that seems to be AI written, they are often correct. 

Why do people resort to AI generated poetry? My view is that they are either lazy, or lacking in any literary or creative talent. They are simply jumping on the bandwagon to see if they can gain some quick influence. Some have actually published entire books of so-called 'poetry' that has been completely written using AI. That's not just dishonest and lazy, it's also probably fraud in some legal contexts.

So if you are tempted to use AI to write a poem, don't do it. You'll be found out. You'll be ejected from the group. And you will be embarrassed when you are called out.

Steve Wheeler

Image used with a Creative Commons Licence

Behaving Badly Online

As a psychologist, I'm fascinated by how people behave, and I founded my academic career on researching how people behave when they are online.

Invisible Poets and several of the other poetry groups I run are online. This means I have a vested interest in understanding how poets conduct themselves in online spaces.

One of the key factors of online life is anonymity. There's a great cartoon showing two dogs at a computer screen. One says 'Nobody knows you're a dog on the internet!' 

People can, and sometimes do mask their identities online. Many don't share their real names or prefer to use noms-de-plume (as conventional writers have done for centuries), and this affords some kind of anonymity. Unfortunately some (a very few thankfully) see this as an opportunity to behave badly. 

They feel that because they are anonymous, they can behave as they like and there will be no consequences. It's similar to the abuse you might get from another motorist. The other driver feels once removed because they are safe in their own vehicle. They wouldn't dream of shouting abuse at you if you were together, face to face in one room. In psychology this is known as disinhibition. Individuals feel less socially inhibited because of their context, in this case hiding behind a fake digital avatar or persona. They think this gives them licence to act like idiots.

Bad online behaviour takes many forms, from abuse and trolling, through stalking and misogyny to masquerading as someone else. Commonly in poetry groups, the individual pretends to be interested in your work and then offers to promote or publish you. Often they are simply trying to appeal to your vanity so they can exploit you.

Others do their best to scam you out of money by pretending to be down on their luck, or in debt, or suffering a serious illness. There are also a few blatant plagiarists out there (more on this in my next blog post) who have no scruples about stealing your idea and pretending it's theirs. 

Any and all of these types of individuals are removed from my groups without a second chance. There is no strike two. And that, dear friends is how we try to keep our poetry groups safe. You can help, by calling out these bad behaviours and informing Admin if you spot them. 

Steve Wheeler 

Image used under Creative Commons License from Pexels

Well Being

Gambian school children

The heat shimmered as I sat on a wooden bench in the dry mud compound. I was listening to the Head Man of the village as he spoke. His words were translated by our guide for the day, a wizened little man called Lamin. In Gambia everyone is called Lamin. The Head Man was telling us of life in the compound, where there was no running water, no electricity ... just open fires. It sounded like an extremely hard life compared to our very comfortable lives in the UK. He had proudly shown us his home - a crudely built brick building with a tin roof, a dirt floor and a single room for all his family to sleep and live in. I stepped back out into the bright light of the African sun with tears in my eyes. 

As the Head Man spoke, I noticed children - school age children - toiling back and forth behind us, as they staggered through the dry heat carrying plastic buckets filled with water. 

When there was time for questions, I asked the Head Man why the children were not at school. In Gambia, school is offered free to children between the ages of 4-11. After this, if the family are not able to pay, the young boy joins the workforce, usually working hard as a fisherman or farm hand, with the girls ending up marrying and bearing children. Either that or the young boys would work the beaches as Bumsters, trying to solicit tourists for money by offering sex. There isn't a great future for a Gambian youth if they have no credentials. Education is coveted, but in this case, the children seemed to be missing out.

The Head Man replied that the children were needed to fetch water from a well, so their mothers could cook and wash clothes. The nearest well, he explained, was two kilometres away, because the well in their own compound had collapsed due to the heavy vehicles passing by. I asked him how much it would cost to repair the well. He began to get upset, and pretty soon several women in his compound also began to cry. It is too much money, was his message. More than we could ever afford. 

It emerged that the cost of a new well would be impossible for these poor Gambian farmers to afford, but for me and my students, all from the affluent West, it would be a simple case of going back to our university and raising the money through some charity activities. Six months later some of our staff and students returned to Gambia with enough money to drill the villagers a new well.

Now the children can go to school. Sometimes the solution really is that simple. 

If you buy copies of the new Invisible Poets Anthology 2, and/or Invisible Poets Anthology 3, you will be contributing to Wheelsong Books' charity funds in our drive for Poetry Against Poverty.

This money goes to support Save the Children in their mission to help underprivileged children across the globe.  You'll be doing some lasting good for the price of a few cups of coffee. 

Steve Wheeler

How to become an experimental poet

Wheelsong Books has published a new book. This one is not a poetry collection, but is a guide to experimental poetry. Consider it a companion to consult on your journey to becoming a better writer. For member of Invisible Poets, Wheelsong Poetry, Pure Poetry and Safe Haven, all copies can be purchased at half price (Amazon price) by emailing wheelsong6@gmail.com.

About the book

Creative Deviance: How to Become an Experimental Poet is an interactive textbook that empowers aspiring poets to break free from tradition and embrace the art of creative risk. Blending theory with hands-on practice, this guide explores the techniques, history, and philosophy behind experimental poetry, from dismantling conventional forms to crafting hybrid works that blur the lines between genres. Packed with prompts, insights, and more than 50 practical exercises, Creative Deviance offers tools to unlock your unique voice and push the boundaries of what poetry can achieve. Whether you’re a seasoned writer or just beginning your poetic journey, this book is your blueprint for innovation and self-discovery. Read more at this link.

About the author

Steve Wheeler says he has never really fit in anywhere. He wears it as a badge of honour. He is a performance poet and creative deviant and loves to experiment with all forms of art. A former academic psychologist and lecturer, Steve now spends a lot of his time creating his own versions of music, poetry and many other strange things.

At 16 years, he attended Hereford College of Art where he studied fine arts, graphic design and photography. The latter led him into a career in learning technology, and ultimately a position as Associate Professor in Education at a large British university. He holds a Research degree in philosophy, a Bachelor degree in psychology, a Masters degree in research methods, and two Teacher certificates.

He lives in the Ocean City of Plymouth, on the beautiful southwest coast of England. During his career he has authored a multitude of academic texts and more than a dozen poetry books. Steve is founder of Invisible Poets, one of the fastest growing and most innovative poetry groups on the Web. He is has been a composer member of the Performing Rights Society since 1984, and was elected a Fellow of the Royal Society of Arts in 2013.

A sample from the book 

Experimental poetry should be viewed as more than just a slightly oddball pursuit; the methods contained within experimental poetry can become vital tools for honing your writing skills. Further, it may even make your poetry stand out from the crowd. As we will see in this book, challenging traditional structures and conventions, experimental poetry encourages writers to think outside the box, bolstering their creativity and helping them to innovate their craft.

One of the key benefits of engaging with experimental poetry is the development of linguistic agility. Writing in unconventional forms—whether through fragmented syntax, nonlinear narratives, or abstract imagery—pushes writers to explore a vast range of expressive potential. Furthermore, experimentation with sound, rhythm, tempo and visual arrangement helps poets to learn how they can manipulate tone, mood, and meaning in a number of nuanced ways.

Furthermore, experimental poetry cultivates a deeper understanding of form and structure by requiring writers to invent or subvert them. Through this process, poets become more aware of the implicit rules that govern conventional writing and gain confidence to break them with purpose. This freedom opens the door to new styles, genres, and modes of storytelling.

Experimentation also increases a poet’s appetite for taking risks. By embracing uncertainty and stepping out into unfamiliar territory, poets learn to approach their craft with greater boldness and curiosity. The lessons learnt from failed experiments and crumpled sheets of paper under the desk can often be as valuable as those you gain from successful ones. Failure can foster resilience and flexibility. You should never fear it.

Steve Wheeler

Review of 2024: Part Three

Autumn of 2024 was busier than ever for Wheelsong Books. This is part 3 in our review of the year. Part one can be read at this link and part two can be viewed here.

August

As August began, Wheelsong's next publication was released. It was Storming Oblivion by the mercurial New York poet Peter Rivers. This book was Peter's first full collection of published poetry and it certainly caused a small storm with its moody cover design and extraordinary poetry. 

Writing about his debut collection, Peter says:

This collection represents a journey through my own expression, recognizing the potential value within my own voice. Storming Oblivion will present tales of love, loss, fear, doubt, feelings that lack reciprocity and more. Travel with me on my road to self-discovery as I share the deepest parts of my soul with you in my quest for self-acceptance.

September

As the summer drew to a close and the leaves began to change colour, Wheelsong Books published an amazing collection of poetry titled Stealing Fire.  Written by Irish poet Tyrone M. Warren, Stealing Fire is a radical departure from much of Wheelsong's previous offerings. Tyrone is a poet with a difference. He speaks from his own experience about a number of challenging issues including domestic abuse, urban alienation and addiction. His writing is visceral, stream of consciousness style and it utterly captures your attention. Tyrone lived in London for many years but recently made his home in the idyllic Cornish countryside.

He says about his own writing craft:

It’s been a hard graft starting from scratch again and I feel a sincere gratitude to have had this opportunity like God heard my heart and I had the clarity to see and read the signs.

October

The much awaited Wheelsong Poetry Anthology 5 was published as Autumn decended. Edited by myself, with able assistance from Brandon Adam Haven and Charlene Phare, WSPA5 features poetry from all six continents, and has become just as popular as all its previous siblings. The cover art is a photo I took from street level of skyscrapers in Manhattan while working in New York in 2015. 

Containing poems in many styles and diverse themes, WSPA5 is an excellent addition to anyone's poetry collection, and features a number of new poets previously unpublished. 

As ever, sales of every book contribute to Wheelsong's charity donations, with more than £6,500 ($8,100) so far being given to Save the Children to help feed, provide health care and educate children in crisis. Wheelsong will continue to create these books for as long as there is an audience to read them. 

November

The final book of 2024 was published in November and it was quite a pleasant surprise to many poetry fans. Circus of Circles by young Irish poet Aoife Cunningham caused quite a stir, not only due to its fiercely vibrant cover art, but also because of the way the book created a new dimension for Aoife's dynamic and powerful spoken word performances. 

Much of her work in the book derives from personal mental struggles and dark, painful places, as well as life in a lage Irish family, but as ever it is all delivered with her inimitable wit and humour. Aoife presents her art with grace and style, always infused with the unmistakeable culture and charm of the Emerald Isle. 

We hope to hear a lot more from this talented young poet in the coming years. 

December

In the final month of the year Invisible Poets reached the significant milestone of 50,000 members. Less than 2 years old, the group thrives from a range of activities including several regular live shows from the UK, USA, Brazil and other countries, energising experimental poetry exercises and engaging writing challenges, many of which yield a diverse range of poems and creative works shared on the site. 

To celebrate reaching 50,000, Wheelsong has created a special T-Shirt which presents the slogan 'Poetry Against Poverty'. Needless to say, every sale raises a fair amount of money to support children in crisis across the globe. In the new year, Wheelsong has plans to establish an online store selling a range of merchandising that will further support Save the Children. Watch out for announcements on the group sites!

Previous parts of this annual review are available:

Review of 2024 (Part One)

Review of 2024 (Part Two)

Steve Wheeler

Review of 2024: Part Two

The first part of this annual review can be read at this link.

May

As the summer of 2024 began to break through, May saw the publication of Marmalade Hue by Oldham poet Donna Marie Smith. There's a story behind this cover. During the production stage Donna and I discussed the title of the book, and I asked her to come up with a title that lent itself to imagery. Marmalade Hue was chosen because it immediately conjured up a picture in my mind. The image was one I took of trees in winter, which I then colourised. 

Donna's gritty, down-to-earth but very humorous and touching book has been quite popular, and has attracted some glowing reviews, including this one by American poet Gregory Richard Barden: 

This wonderful book of poetry is filled with so much beautifully expressed content, presented with eloquence and charm, I would recommend this for everyone – get one for your nightstand or coffee table, and take this marvellous journey through poetic excellence!

June

As the month of June began, Wheelsong published its next collection of the year, by Gregory Richard Barden. Melancholy Moon is the first of several collections that will be published by Greg through Wheelsong. Greg's eloquently crafted poetry deserves a much larger audience than he currently enjoys, and hopefully this book will begin to make him more visible in the poetry community.

Greg is a master of the fixed form genre of poetry and his stunning poetry is very rich in both imagery and metaphor. It's quite exciting to anticipate what he will create in his next book.As Mark Massey remarked in his review: 

Greg Barden’s collection of poetry touches every emotion. His sonnets are perfection. This book needs to be in your collection.

July

There has been a demand to publish a second collection from Matt Elmore ever since his first book, Constellation Road hit the bookshelves. In July Wheelsong finally released a superb collection from the Kentucky poet that we hope does justice to his poetic genius. Matt creates poetry that is breathless, relentless and thrilling. In Average Angel, he conjures up a very enjoyable sequence of poems that challenge, thrill and amaze.

In Matt's own words:

Average angels surround us. They give more than they take. They make life worthwhile and they light up our lives. Do you know any? This is about them… Life is a game of opposites. Positive and negative, pleasure and pain… life and death. There are many who cannot reconcile the good from the bad because there seems to be such little hope without some form of unseen intervention.

August

My own book of new poetry, The Infinite Now was published in August of 2024. It contained a collection of diverse themes and styles. I think it's my most sophisticated book to date, but I won't blow my own trumpet. I'll introduce my brass section instead:

This extraordinary volume ... is a magnificent achievement of poetic excellence, inspiring spirituality, and exceptional beauty. Steve Wheeler is a modern master creating an immense breadth and depth of poetic forms and intriguing themes. – Linda Powers O'Dell

From the preface, through the verse-gilded pages, to the very last punctuation point, this book is a rich and varied glimpse into the realms of a prolific poet and a wondrous imagination. Every selection is a new spell-binding story that will leave you breathless, enriched, and wanting for more. Of all the many anthologies I have read of late, this one was the hardest to put down. – Gregory Richard Barden


The final part of this annual review can be read at this link.

Steve Wheeler

Review of 2024: Part One

2024 has been a busy and very productive year for Wheelsong Books and Invisible Poets. Here is the first of three parts of a comprehensive review of our achievements and successes over the year.

January 

The goal Wheelsong Books set itself as a publisher in 2024 was to publish one book each month. The first book off the Wheelsong press in 2024 was a collection of my own poetry from 2020-2023, titled All the Best (this is usually how I sign off an email). 

The poems in the collection were drawn from a number of previously published books including RITE, Shocks & Stares, My Little Eye and Nocturne. It contains poems such as Yasmina, I Ordered an Uber and a Hearse Showed up Instead, and many more.

What may have baffled some readers is the section headings which were all named in Latin or Greek. That's just me having a little fun with language!

February

As an online poetry community, Invisible Poets celebrated its first birthday in February 2024, a milestone commemorated by the publication of Invisible Poets Anthology 1. IPA1 is a collection of premier poetry all of which has featured in Live Poets Society shows. The best of the best poetry featured in the book, which is still on sale today to raise money for Save the Children. In total, the book featured more than 350 poems and at just over 300 pages, is the largest volume Wheelsong has published to date.

The cover art is a split image of artistic graffiti I found in a motorway underpass just a half mile away from my house. My daughter Amy Wheeler took the image, which features me in a green hoodie. The separated image of the hooded poet has since become the icon for Invisible Poets, and now features on our charity T-shirts (of which more later). 

March

As the first signs of Spring began to appear, we were working on the final touches of a wonderful collection by American poet David Catterton Grantz. Previously an educator, Dave's poetry has an ethereal lyrical quality that has to be experienced to be believed. Shadows into Light really showcases his unique talent as a poet, and although it may have been the first Wheelsong publication, it was in fact his fifth published collection. 

His work is summed up nicely by Ellis Ralph, wordsmith and singer-songwriter: 

Grantz is an expected surprise, a familiar novelty, dependably unpredictable in form and content, style and mood ever shifting his ideas, and yours. Strap in and ride shotgun in whatever vehicle he’s driving, to wherever it goes. He knows the way.

April

The Wheelsong Poetry Anthology is becoming a regular twice-a-year event, with contributions drawn from five or more large poetry groups across the online network. Wheelsong Poetry Anthology 4 was edited by me, ably assisted by Donna Smith and Matt Elmore, and what a difficult job we had! We received more than 500 submissions in just 3 weeks, and systematically waded through each, to select the very best of the best. I think the editorial team managed to do a very good job, as the collection clearly indicates. It's a great book, well worth a read, and hopefully it will become a classic in time. 

The beautiful image was donated by David Catterton Grantz to grace the front cover of our flagship publication. All proceeds are donated to our favourite charity, Save the Children and every sale raises enough to feed a malnourished child for almost a month. 

Continue reading the review of 2024 in these posts:

Review of 2024: Part Two (May-August)

Review of 2024: Part Three (September-December)

Steve Wheeler

Wheelsong Poetry Anthology 5 is published!

Our strapline on Invisible Poets is Poetry Against Poverty, and that's exactly what this new publication is all about. Wheelsong Poetry Anthology 5 contains premier poetry from 130 poets from across all six continents. Showcasing around 250 new poems, the anthology weighs in at 208 pages, so is a substantial tome. 

The cover image is a photo I took in New York City (Manhattan) in 2015. It depicts a variety of high rise buildings and is evocative of reaching for higher things. And that is exactly what the editorial board wishes to achieve - high sales of a great collection of poetry so we can contribute to nutritional, health and education needs of children in crisis and make their lives just a little better. 

Every book sold raises enough money to feed a malnourished child for almost a month, or can purchase a month's supply of water purification tablets. Please be generous, and buy not only a copy for yourself, but further copies for friends, family, colleagues, local libraries, schools etc.

You can find all the links of online stores right here on the Wheelsong Books official website. 

Steve Wheeler

Wheelsong Poetry Anthology 5

Do you want to be a part of something really great? Something that is far more than just poetry? Something that will leave a lasting legacy and do some good in the world? We are about to publish the latest anthology in our charity series, so read on....

Wheelsong Books was established in the UK in 2020 as a not-for-profit organisation. Its mission statement is twofold: To give emerging poets the means to reach larger audiences and to help those who are in need. Since then, the company has published 40 books including seven charity poetry anthologies. Here are some anthology statistics: 

Absolutely Poetry Anthology 1: 170 poems 

Absolutely Poetry Anthology 2: 176 poems 

Wheelsong Poetry Anthology 1: 183 poems 

Wheelsong Poetry Anthology 2: 214 poems 

Wheelsong Poetry Anthology 3: 229 poems

Wheelsong Poetry Anthology 4: 245 poems

Invisible Poets Anthology 1: 352 poems

(a total of 1569 poems written by more than 470 poets representing 108 countries across all 6 continents) 

All the above books are still on sale on Amazon and through other outlets, including Waterstones (UK) and Barnes & Noble (USA). The proceeds from Amazon sales of these books is donated to Save the Children - a worldwide charity that supports children in crisis. At the time of writing, Wheelsong Books has donated £5350.00 ($6825.00) to Save the Children and we are not done yet! At the end of October we will be publishing Wheelsong Poetry Anthology 5.

Dear poet, this is the bottom line... You have been given an amazing creative gift ... your ability to capture your thoughts, ideas, memories and emotions and present them as beautiful, evocative words. 

You can, if you want to join us, use your wonderful talent to freely give back a little to children who are in desperate, often life-threatening situations. 

We all want our poetry to be read and appreciated by others. Publishing your work in Wheelsong Poetry Anthology 5 will ensure that you gain a new audience for your poetry, but that's not the most important aim! 

Better than that is this ... your poems will be helping to raise much needed funds to support children in crisis. You will also retain ownership of your poem, and Wheelsong Books will protect and administer your copyright for you. 

To be considered for inclusion in the review process you will need to follow these instructions very carefully:

Firstly, do not bother to submit your poetry if you do not intend to buy at least one copy of the book. We will expect you to pledge to buy at least one copy direct from Wheelsong Books if your work is published. This is a charity publication, and all profits from Amazon sales will go to help children in crisis. If you're not prepared to invest in helping children, we won't be publishing your poetry (we are dismayed that around two thirds of featured poets do not purchase a copy of the anthologies once they have been published!). Please give more than you take, because this is not about you or Wheelsong - it's about helping children who are in desperate need. 

Secondly, only submit poetry that is a) your own work and b) has not been subject to any other publishing agreement. Poetry you've shared on Facebook and other social media is fine, but please do not send in work that has been published elsewhere, and is subject to another publishing contract. That could lead to legal action. The editorial team will also reject poems if we suspect they have been either plagiarised in part or whole, or generated partly or wholly through artificial intelligence.

Thirdly, submit up to 3 poems as either plain text or in a Word file via email to this address: wheelsong6@gmail.com. Submissions by any other means will not be considered. Poetry submitted as images or photos will not be considered, nor will links to other sites. 

And before you ask: There is NO specific theme. 

Finally, all poems submitted will be subject to review by our editorial team. Your poetry will be anonymised (your name blanked out) so the editorial team can't see who you are. If your poetry is selected, you will be informed via email and a publication agreement will be sent to you for you to complete and return. Your work will be then published under your name. If your work is not accepted for publication, you will receive an email informing you of the team's decision. No correspondence other than via email will be valid. Please don't try to text or direct message us. We won't answer. 

The window for submission is now open, and will be closed at midnight (UK time) on October 4, 2024. Any submissions received after this time/date will be rejected. If there is an extension to this date, you will be informed. The editors' decisions will be final. 

Please Note: Shorter poems are more likely to be accepted for publication than longer pieces - space will be limited in the book due to resource and production limitations. Several poetry groups will participate, including Invisible Poets, Wheelsong Poetry, Pure Poetry and Safe Haven. Poets from outside these groups are also eligible to take part, so point them to this blog, and keep visiting this blog to find out news as it unfolds. We look forward to reading your submissions. Good luck! 

Steve Wheeler (Editor in Chief) 

Photo courtesy of Save the Children

How to get your poetry published

With two new anthologies about to be published by Wheelsong Books, I'm sure there will be many in the groups who would like to know how best to get their poems selected. Will your poems be chosen for publication by the panel? Well, it all depends if your poetry is good or bad poetry. If there is such a thing as bad poetry (and many would argue there is! Boring has something to do with it) then there must be characteristics that make it so bad. In this briefing, I want to show you some reasons why in the past, some poems have failed to be selected for publication in the Wheelsong Poetry Anthologies. 

Firstly, to get into an anthology, your poetry should not be lengthy. It should be comparatively brief, normally no longer than one page of text. The publisher is constrained by page count. The more pages a book contains, the more expensive it is to publish. Wheelsong Anthologies are generally between 240-300 pages in length. We like to keep the costs down so everyone can afford to buy a copy. 

Tip 1: Submit brief poems that are no more than 50 lines at the very most. Shorter poems will be favoured over longer ones. 

Most poets don't tend to read poems by other writers. This is a sure-fire way to get stuck in a rut and to keep on churning out the same old same old. If they do read other poets' work, they tend to read old, dead poets rather than living, contemporary poets. This encourages them to become obsessed with archaic language, especially thee, thou, hast and any other kind of bygone vocabulary. And when they get this wrong, oh boy, do the get it wrong! It's embarrassing, and it causes me to move on without reading. Also, if you're wanting to excel in the spoken word kind of poetry, then you'll need to write in contemporary language that your audience will easily recognise and identify with.

Tip 2: Read widely, not just the dead poets, but the living ones as well! Try to pick up ideas from the many and varied ways poets of today construct their poetry. It will be an eye opener, and I guarantee you will never regret it. Best thing you can do is buy a copy (or more) of a Wheelsong Poetry Anthology, and check out the quality, themes and format of the poems that were selected.

Next, here are a few things you should definitely avoid:

Boring poetry uses sing-songy rhythm and forced (gratuitous) rhyme. Forced syntax doesn't do any favours for your reputation. Losing your reader because your rhymes don't make any sense - or worse - because they become completely predictable - is a great way to destroy your credibility. I recently made a comment about gratuitous rhymes. I was surprised when people took up the erroneous idea that I had said rhyming was bad. I didn't say that. I said that bad rhyming is bad. There's a difference. But people hear what they want to hear I guess...

Tip 3: If you can, write poetry that is free-form, and avoid rhyming if you feel it is constraining your creativity. If you are determined to stick to fixed form poetry with strict rhyming schemes, then experiment with rhyming that is unpredictable. I recently rhymed "Avoid them" with "I Siegfried and Royed 'em". I rhymed the entire phrase rather than just the end word. Experiment. You have nothing to lose. 

Tip 4: Rhyme schemes can be as varied as you like. You can stick to the boring ABAB or AABB quatrain n schemes if you wish (good luck with that), or stretch yourself with ABCABC or ABACBCBA or even ABCABDABEDBCAEB - if it was good enough for Dylan Thomas, then you should be just fine.

Bad poetry is full of cliches, phrases that are so hackneyed the poem becomes laughable. Avoid the use of flat, uninteresting phrases like 'You broke my heart' - a simile would be more interesting: 'I am shattered like pottery on the hard surface of your indifference' seems more poetically astute. 

Worse still is the use of cliched end rhymes. How often have you seen life/strife, or world/unfurled or love/above? 

Tip 5: Be inventive with your language. You needn't address your topic head on. You can approach it obliquely, and keep your reader intrigued. Again, what have you got to lose?

Avoid preachy poems - 'do this or else' type writing. Also, avoid poetry that is self centred, and harps on about how badly treated you have been.  The best poetry takes the mundane and every day, and transforms it into something magical. 

Finally - is there a name for bad poetry? Yep. It's known as doggerel. 

How are you going to avoid doggerel? Firstly, make sure your poetry creates emotional energy. Secondly, make your poetry unusual, interesting, intriguing, exciting etc. using whatever devices or techniques are at your disposal. Thirdly, create something that no-one else has ever created before - a new rhyme scheme, a new way of expressing the mundane, a new turn of phrase. Experiment and be different! Stand out from the crowd, and you're sure to be published! 

Steve Wheeler

Poetry Against Poverty 3: Ratana the Environmentalist

This is the third in a short series of reports about how Wheelsong's charity initiative is achieving success.

Wheelsong Books has a longstanding partnership with Save the Children, a worldwide charity that provides aid to children in crisis across the globe. But it's not only food they provide during a famine, nor is it just medical supplies and healthcare they supply in war zones. Save the Children are also committed to providing children with education and learning opportunities so they can support themselves, their environment and their local communities. 

You may already have heard about the Ethiopian Camel Library our book sales from recent anthologies have helped to fund. That was a classic, innovative project to provide ways for children in hard to read areas with books and literacy skills where no one else could do it. Here is another recent innovation from Save the Children: 

Ratana, 13, is on a mission to clean up Cambodia’s Tonle Sap Lake, and she’s inspiring her community to join her. She and her friends are passionate about the environment, and have learned more about how to protect it during eco-lessons we’ve introduced at her school. We’ve also teamed up with a local partner to develop innovative plastic-collecting devices called biobars, and teach the kids how to build their own. Ratana’s making waves in her community, and she’s not going to stop anytime soon. 

Ratana says: “The biobars are very important to the environment. There was a lot of rubbish but this year, there has been some reduction. I am very proud to see that people cleaned up and also reduced pollution.”

Thanks to your support, we’re with her every step of the way.

Read more about this story here.

This is just one more great reason why you should support Wheelsong Books and our poets who have pledged the sales profits from their books to support Save the Children. Poetry against Poverty!

Steve Wheeler

Image courtesy of Save the Children

Poetry Against Poverty 2: Esther the Tree Planter

This is the second in a short series of reports about how Wheelsong's charity initiative is achieving success.

Wheelsong Books has a longstanding partnership with Save the Children, a worldwide charity that provides aid to children in crisis across the globe. But it's not only food they provide during a famine, nor is it just medical supplies and healthcare they supply in war zones. Save the Children are also committed to providing children with education and learning opportunities so they can support themselves, their environment and their local communities. 

You may already have heard about the Ethiopian Camel Library our book sales from recent anthologies have helped to fund. That was a classic, innovative project to provide ways for children in hard to read areas with books and literacy skills where no one else could do it. Here is another recent innovation from Save the Children:

Climate change champion Esther (pictured) from Malawi, loves planting trees almost as much as she loves climbing them. Every tree she plants helps shield her village from storms and floods. Thanks to our eco-lessons, she's more passionate about nature than ever.

Save the Children

This kind of greening project is begin to blossom all over the world in developing areas. It's important to educate our next generation of the crucial need to care for our planet. Planting trees helps to restore the lungs of our planet. 

This is just one more great reason why you should support Wheelsong Books and our poets who have pledged the sales profits from their books to support Save the Children. Poetry against Poverty!

Steve Wheeler

Image courtesy of Save the Children