Editors hate rhyming poetry. Or do they? Rhyme has become something of a sore subject in the world of contemporary poetry, but to many poetry editors, there’s good reason for the shift. A number of writers who work in rhyme have yet to distinguish between the nursery rhymes of childhood and more adult types of verse. Recollections of the fun, frilly words that cheered and delighted us as children may be the reason editors tend to avoid rhyming poems.

If we are to write rhyming poetry that transcends childhood nursery rhymes, we must understand the importance of alliteration, assonance, and consonance and what they can bring to our work. These elements of rhyme become useful tools when used effectively.

Rhyme does not have to be an ABAB rhyme scheme. The rhyme scheme is the pattern of rhyming words in a poem. A typical rhyme scheme may look like this:

I went to the store
To buy some milk
But I found something more
A scarf of silk.

In the example above, store/more and milk/silk are examples of perfect rhyme (when the words sound the same because of the last syllable). Many poets find it difficult to handle perfect rhyme, since they run the risk of writing poems that sound forced or even clichéd. Mastering the different types of rhyme beyond ABAB improves poetry techniques and also creates a more sophisticated style of poem.

Understanding how to use rhyme effectively may give you the confidence you need to submit your rhyming poems to poetry editors (who may just be waiting for someone like you to get “rhyme” right). But in order to do that, you’ll need to see how good rhyming verse offers much more than words that merely “sound the same.”

While perfect rhyme is often found at the end of a line, there are a number of ways good rhyming poetry makes use of other kinds of rhyme. Internal rhyme (or middle rhyme) is rhyme that occurs in a single line of verse. Internal rhyme is a more subtle way of creating rhyming poetry. Edgar Allan Poe provided an excellent example of internal rhyme in “The Raven.” Take a look:

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of someone gently rapping, rapping at my chamber door.
“'Tis some visitor,” I muttered, “tapping at my chamber door —
     Only this, and nothing more.”

Here are a few types of rhyme that go beyond that singsong meter of childhood nursery rhymes.

Alliteration is when the same initial consonant sound repeats in close succession. You can see an example in the Poe verse above: “While I nodded, nearly napping…” Alliteration brings a more subtle form of music to an otherwise flat line.

Assonance is when the vowels in a given line rhyme. For example, “weak and weary” offers both alliteration and assonance.

Consonance is when one or two consonants in the words of a given phrase repeat in close succession, although the words themselves may not technically rhyme in the traditional “hat, sat, cat” sense. The rhyme is created within the internal structure of the words, based on the consonants. Examples: clip, clop.

Half rhyme is when the final consonants repeat: bowl, trawl.

Pararhyme can have much in common with the forms above. Pararhyme is when the consonants match, but the vowels are different. The consonance examples are also pararhyme (drip, drop). Sometimes, pararhyme may be called partial rhyme or imperfect rhyme.

Reverse rhyme is the opposite of what we think of as typical rhyme. Instead of the like sounds coming at the end of the words (fighter, lighter), the like sounds arrive at the beginning (gorge, gourd).

At Writer’s Relief we have worked with poets who specialize in rhyme, but the poetry must be exceptional. Learn how you can submit your poems for publication through Writer’s Relief.

How does a poet maintain the mind frame of…well, a poet? When you are also a parent, an employee, a homeowner, a student, or all of the above, it may seem impossible to stay observant of the things around you and plugged into your own emotional responses.

Remember: Poetry is about taking the mundane and elevating it. It’s about drawing new and surprising conclusions about life that will make readers see things in an unfamiliar light. Therefore, it’s important to maintain a poetic sensibility even while you’re carting your kids to soccer practice or mowing the lawn.

Here are some ways to keep you in a poetic state of mind all day, every day:

· Keep a journal. Sometimes emotions are too big to whittle down into a poem right away. Write them down in your journal and revisit them later—this will keep you from losing that visceral rush that eventually becomes a poem. Even if you don’t think you have anything significant to write, write anyway!

· Eyes and ears open. Look actively, not passively, for inspiration. There is poetry in everyday life; you just have to turn over some rocks to find it sometimes.

· A trail of paper scraps. Make sure there is paper available to you at all times. When inspiration abruptly strikes, you don’t want to be left scrambling. Stash little notebooks around your house and jot down even the briefest of thoughts. That way, even if you can’t sit down and write a poem at that very moment, you can always follow the paper trail back to that creative mind-set later.

· Tempt yourself with poetry. A huge part of staying in tune with your poetic side is devouring poetry every chance you get. Leave books of poems in places where you rest or might have a few minutes of idle time (such as next to your bed or tucked in with your lunch). Litter your daily routine with a poem here, a poem there. It will be much easier to maintain that creative state of mind if your favorite poets are accompanying you throughout the day.

· Poetry as decoration. Print out a few of your favorite poems, frame them, and hang them around your home. Every time you see them, you’ll be reminded that writing isn’t a joyless task, but the act of creating something beautiful.

· Listen to your inner voice, always. If you get into the habit of regularly gagging your muses, getting them to talk to you when the time comes to write will be impossible. Let that inner voice babble. Be cheesy and mentally narrate your most mundane tasks. Even if the writing in your head never makes it onto a physical page, you are still exercising those artistic muscles.

When you are in a constant poetic state of mind, you are more open to inspiration and alternate interpretation, which means you are more likely to write better poems. Poets never stop being poets, even when they have to. And if you want help getting your poems published in the top literary magazines and journals, Writer’s Relief has a service for every poet!

At Writer’s Relief we are very tuned in to trends in the publishing industry, and we’ve noticed that some poetry formatting choices act as red flags to editors of literary journals. These red flags tend to make editors view poets as new or amateur. If you’d like to get your poems published in literary magazines, consider these tips before making your submission.

Rhyming Poetry And Contemporary Publishing
As disappointing as the news may be for some poets, very few literary journals are accepting rhyming poems or formal verse poems. From the lack of popular interest in rhyming poetry, it seems that many modern readers have come to regard rhyme as naive, outdated, and contrived. Literary editors of well-known journals are simply not banging down poets’ doors to publish rhyming poetry.

That said, some editors love and publish rhyme. Poets who excel in traditional verse may well find an outlet in literary journals; however, the writing must be exceptional in order to overcome the apparent editorial disinterest in rhyme.

Poetry Format: Double-Spaced Lines
One of the tell tale signs that a writer is new to the craft is unnecessary double-spacing of free verse or rhyming poems. Many double-spaced poems can easily become single-spaced poems without doing significant damage. The new writer may feel uncomfortable changing from double spaces to single spaces, but if you leaf through the pages of a literary magazine, you’ll find that most poems are single-spaced.

That said, some poems simply must be double-spaced. The writer selects double-spacing not just because it “looks nice” but because that format supports the meaning of the poem in some way. You can double-space your poems; just be sure you’re doing it deliberately, with sensitivity and awareness. If you can remove the double spacing without doing damage to the poem, it might be a good idea to do so. The format change will also help you keep the page count down.

Poetry Format: Centering Lines
There is a perception among some newer poets (or at least, there is a perception among literary editors about newer poets) that centering the text of a poem somehow makes it look and feel more poetic. Few editors fall for that ruse, and some have been known to be dismissive of centered poems.

If your poem can be left justified without doing damage to the meaning of the poem, you may want to consider ditching the center justification if it helps your work get published in a well-known literary journal. That said, as with spacing, if there is a reason other than "it looks nice" that your poem must be centered, then by all means, stick to your guns. Hopefully, you’ll be able to connect with an editor who gets your work and will not dismiss your poem simply because of the center justification.

The Best Length For Poems
As the page count of your poems goes up, the chances of your seeing them published go down. One-page poems have the best shot at being placed. And poems that have long lines of text may not be eligible for publication in narrow literary magazines. For more on this issue, read Why Length Matters When Submitting Your Stories And Poems For Publication.

One Final Note About Poetry Format
The above tips are based on the experiences of Writer’s Relief in helping poets publish their poems in literary magazines since 1994. However, we do not advocate writing poetry only for the market. If the muse moves you to write a certain way, you should do what makes you happy, consequences be damned. Writing poetry is a very personal matter, and the decisions you make about your poems should be made with care and authority—regardless of the market.

If you find you are relying too heavily on any of the above, we recommend familiarizing yourself with the kinds of things that editors are publishing in your favorite literary journals. Being familiar with the work of contemporary poets is important to your craft, your muse, and your career. Read more: Seven Techniques You Must Know To Make Editors Notice Your Poetry (in a good way!).

Because poetry tends to be an especially musical form of writing, there are a number of words that poets use to talk about their particular techniques. Here is some vocabulary to help you discuss the music of your poetry. Enjoy!

Alliteration
Repetition of consonant sounds, usually at the beginning of words.
 
Anapest
Two unaccented syllables followed by an accented one, as in un-der-STAND.

Assonance
Repetition of similar vowel sounds.
 
Caesura
A pause within a line.

Dactyl
A stressed syllable followed by two unstressed ones, as in SHUD-der-ing.

Diction
The selection of words in a literary work—for example, if a narrator says blood-red, that selection has different connotations than rose-red, even though the colors may be similar. 
 
Elision
The omission of an unstressed vowel or syllable—such as o’er for over.

Falling meter
Meters that move (or fall) from stressed syllables to unstressed syllables.

Foot
A unit of measure in a metrical line; syllables included in a kind of musical bar or measure.

Iamb (as in Iambic)
An unstressed syllable followed by a stressed one, as in at-TEMPT.

Meter
The pattern of accents in poems.

Onomatopoeia
Words that imitate the sounds they describe.

Pyrrhic
A metrical foot composed of two unstressed syllables (as in for the).

Rhyme
Matching sounds in two or more words.
 
Rhythm
The repetition of accents or stresses.

Rising meter
Poetic meters that move (or ascend) from unstressed to stressed.

Spondee
A metrical foot represented by two stressed syllables.
 
Style
The way an author selects and arranges words, and develops ideas using literary techniques.

Syntax
The order of words.
 
Tone
The writer’s attitude implicitly conveyed through diction, syntax, etc.
 
Trochee
Accented syllable followed by an unaccented one, as in MAY-be.

Want to write better poems? Why not try a different technique to become a better poet?:

Stop trying to write better poems.

Because most good poetry comes from a place deep in the subconscious, judging your poems as you’re writing them can be problematic. If you’re worried that your poetry isn’t strong, that your metaphors are wobbly, that no one will be interested in your subject matter, then you’re clipping your poem’s wings at the same time that you’re asking it to take flight.

Here is one way of writing that works for some poets. Feel free to expand and alter this as you please to suit your own writing needs!

1. To write better poems, turn off the part of your brain that is conscious of what other readers might think of your poetry. Let your subconscious do the writing. Don’t go chasing after the words you want to write; instead, follow the words as they come from within you. Don’t censor, second-guess, or hesitate. Just open your mind so that it can make connections that you might not consciously see.

One way of “turning off your inner critic” is to set an intention before you sit down to write. Take a few deep breaths and gently tell yourself that you’re open to whatever it is that your mind is about to do. Consciously allow your subconscious to take over. Intend to follow where the muse leads—even if what you end up with is messy, garbled, clumsy, and unfocused. Embrace that lack of control as part of the process.

2. After you’ve done the brainstorming portion of your poem-writing, put it all down for a while. Don’t rush yourself into creating a masterpiece. Like good food, good writing takes time. When your poem sits quietly for a while, the various flavors of it will mingle and recombine in new ways. You open your poem up to new levels when you leave it alone for a while.

(However, if you’re worried that you’ll lose the “fire” behind your poem, start the revisions right away. You can always put down the revised poem for a while and come back to it later on.)

3. Finally, after you’ve taken the time you need to get a little perspective on your own writing, go back to your poem with your “editing hat” on. Because the creative act is generative and the act of editing is critical, it can help to break those two processes apart and tackle them one at a time. Edit carefully and without judging your own creativity. When critiquing your own writing, always strive to be the generous and sensitive editor that you would be for someone else.

Sometimes writing better poems isn’t a matter of learning more technique or doing more thinking. It’s a matter of NOT thinking. Dig deep to let your subconscious do some writing, and your poetry will grow.

Writer’s Relief helps poets place their poems in literary magazines and journals. For more information on how Writer’s Relief can help you, visit www.WritersRelief.com.

Do you remember the poetry you wrote as a teenager? Many poets would rather eat paint chips than share their teen-angst poetry with the world. Teenage poetry is often raw, drippy, sloppy, histrionic, self-centered, and overdone. But there are valuable lessons to be learned in remembering the way we used to write before we ever dreamed of getting a poem published.

The type of poetry most often associated with a poet’s personal emotional journey is confessional poetry. This style is a particular favorite among editors of literary journals and magazines, because it demonstrates intimacy and reflection.

Writing confessional poetry is important to a poet’s personal journey toward self-improvement. Before you cared about poetic technique, you probably just cared about the act of writing. Writing a poem when you’re feeling a strong emotion is often a great way to make sense of your feelings. Poetry can be therapeutic and cathartic, allowing writers to discover their true feelings in a safe space.

When you’re feeling troubled, grab a pen. Writing heals. When you write, you make time for yourself—and that’s important. Confessional poetry can get you through the biggest hurdles in your life, and you should not be afraid of plunging into intimate, meaningful confession.

BUT before you go pulling your old, high school confessional poems out of the attic so you can get them published—or before you start thinking that every confessional poem you write is genius—think again. They are important to the writer but can come off as self-indulgent to the reader. To be published, they need to demonstrate that the writer is self-aware and has great insight and technique.

Apart from being overly emotional, the other problem with confessional poems is that they run the risk of being unruly. Although poetic verse can be free form, it must always be carefully wrought. Poems that spill on to the page and are done in a single draft are poems that you as a writer may want to consider putting away for a while. Better to judge your poems once you’re a bit distant from them—so you can see them for what they really are.

At Writer’s Relief we believe in the power of the pen. But be sure to learn the difference between when a poem is necessary emotional spewing and when it is true, carefully crafted art.

Writer’s Relief would be pleased to help you submit your poems for publication. We can target your poems to the editors of literary magazines and journals who will be most likely to appreciate your writing. Learn more about our services at www.WritersRelief.com.

For more articles about poetry, read:

Seven Techniques You Must Know To Make Editors Notice Your Poetry

How To Get Your Poetry Published

Spotlight on Poetry

Free Verse: The Hidden Rules Of Free Verse Poetry

The Seduction of Poetry Contest Scams

The poetry below was written by a client, Rynn Williams, who recently passed away. Since joining Writer’s Relief in 2003, Rynn published over 100 of her wonderful poems. We feel so lucky to have been able to work with her, and we share some of her poems (with the permission of her estate) here.

*
Now I feel safe: I’ve got my cardigan back again.
I’m leaning against a bank of warm dryers,
holding the golden cloth to my cheek.

I’m not biting the mother-of-pearl buttons,
although I know what they would taste like:
cool shell, uneven along the bottom,
the true dark pinks and sea greens showing.

There is nothing like walking down 9th Avenue
with that bundle. The hole on the right cuff
still there, and the fraying inseam.
I am impenetrable.

*
This is the card the Homecoming Queen
kept close to her bodice: Keats was right. 
There is a kind of loveliness that’s more about truth
than individual ornament—like a spray
of ficus leaves, shining countenances alive in the sunlight.

*
Every night we dreamed of The Cyclone.
Siren blues, reds of surrender.
Up from the subway, cotton candy sea-light
spun around us, Tilt-a-Whirl,
until we were sticky, captured like flies.

*
We’ve all heard the numbers: how the average teenage boy thinks of sex
five hundred times an hour. For teen girls it’s food—every little nuance
of their lunches, their dinners, how they had a poached egg when they really wanted pancakes, or had pancakes when they really wanted toast. It’s amazing
when you think of it, all the boys walking around looking at hot dogs,
skyscrapers, rolling pins and thinking: sex. And the girls looking at rolling pins
and thinking: pie dough, and hot dogs and thinking: lunchtime,
and skyscrapers and thinking: five-star restaurants.

*
Even my bathroom is papered in maps.
Medieval Paris along the far wall,
the Lone Star State curling, yellowed
from the ceiling, Steinberg’s Manhattan
behind the door. You can stand in the shower
with the weight of your life, and travel
the northward surge of the Nile
as it moves toward Khartoum, Luxor, Cairo.

1. Get the look. If you want people to take you seriously, you’ve got to present yourself in a serious way. When making your submissions to agents and editors, skip the bright-colored paper, the “clever” query letter intros (editors get sick of them fast), the thumbnail image of your face on the manuscript. Just be brief, straightforward, and businesslike. Also, follow industry standard formatting and have your work proofread. Interestingly enough, it’s often the veteran writers who are more inclined to appreciate proofreading than the newbies—but that’s probably why they earn veteran status to begin with.

2. Write to the right people. The first mistake of making submissions is taking the “blanket” approach: wallpapering the whole country with your query and cover letters. A few well-placed and specific queries truly mean much more than 50 that are almost well-placed. Queries that are almost well-targeted will almost get you published. Do the research (or hire someone who will) to make your submissions matter. (NOTE: We’ve found that writers who take this seriously tend to be more successful. Submitting selectively is a sign of a writer who knows what she or he is about. Selective writers put so much love into their manuscripts that they won’t submit to just anyone. Selectiveness is a very good sign because it demonstrates the right attitude for success.)

3. Be the tortoise, not the hare. Make submissions part of your writing habit. Submitting your work in dribbles and drabs is NOT a strategy; it’s a crapshoot. Sustainable and steady wins the race. To a certain extent, submissions are a numbers game. When you submit more regularly, it’s likely you’ll get published more often and more regularly. And the more you build up your bio, the more likely you’ll be well-received. Don’t give up on a story just because twenty places rejected it. Plan to submit to at least 100 markets. AND create a schedule to lock yourself into making submissions. When you create a calendar for your submissions (and deadlines for your writing so that you can make submissions) you will see your publication rate increase.

4. Organization is your friend. Some people are naturally well-organized but others are not. To truly make the most of your submissions, you need to keep track of who read what, who liked what (and why), who rejected what (and why), who wants to see more work from you, and who acquired what rights. It is a TON of work (that’s why Writer’s Relief takes on this burden for our clients). When the acceptance letters start coming in, you’ll thank yourself for the extra effort.

5. Chin up! Last but not least, work to maintain a good attitude. Negative thinking, getting glum about rejections, and believing yourself less than worthy... It’s easy to fall into those traps. Positive thinking takes real work when you’re getting bombarded by rejections (and you WILL get bombarded—it’s part of the process). Start looking at your rejection letters as proof of your dedication, devotion, and all-around awesomeness. Attitude is often the only difference between a nobody and a rising star. Every rejection brings you closer to acceptance, so submit regularly and chip away at those numbers. If you’d like to stay positive and motivated, we’re willing to give you a free E-book, Rejoice in Rejection (details here). We know it will help!

If you’re not able to develop a submission strategy on your own, or you just don’t have the time and patience for it, do yourself a real favor and check out Writer’s Relief. We can take on as much or as little of the submission process as you like so that you can focus on what you love: writing.

At Writer’s Relief it’s our business to work with our clients to develop a submission strategy that 1) keeps them focused on writing, 2) eases the stress and frustration of the submission process, 3) circulates manuscripts regularly (with no spamming) to generate interest, and 4) targets the BEST literary agents and editors (those most likely to enjoy the writing in question).

For more tips on making strong submissions, visit:

How To Write Cover and Query Letters That Get Attention 

Why Length Matters When Submitting Your Stories And Poems For Publication

How To Build Up Your Writing Bio Super Fast

Seven Techniques You Must Know To Make Editors Notice Your Poetry

If you want to get editors at literary magazines or publishing houses to notice and publish your poetry, there are a few key things you can do to increase your odds of having a poem accepted. At Writer’s Relief we’ve been working with poets since 1994—helping writers submit their work to literary agents, magazines, and journals—and we’ve picked up on some pretty significant trends. Our clients get published by the hundreds (thousands, if you want to get technical). Here are some of the things they do (and don’t do) to ensure their poetry has a competitive edge. 

Skip the rhyme. Rhyming poetry is difficult to place. In fact, it’s so difficult to publish rhyming poetry that we won’t work with poets who primarily focus on rhyme. If you want to rhyme, feel free. There are plenty of outlets online and even a few print journals that adore rhyme. Just be aware that at most magazines, it’s a dead end. Rhyming poetry done well is beautiful. Done poorly? Ugh.

Keep it short. Poems that are one page long tend to be more readily accepted than any other length poem. Also, watch your margins. A poem that is too many characters wide may not fit on the narrow pages of literary magazines. Tight poems are more easily publishable and more readily accepted.

Submit three to five poems per submission. Submitting more than five poems makes you look demanding and overeager. Submitting fewer than three poems implies that you don’t have a significant body of work. Also, don’t submit more than ten pages MAX (5-8 pages is best).

Avoid clichés. Money, love, and death are said to be the big three topics for writers. But be sure that you’re approaching them in a truly new way. (Tip: The only way you can be sure your writing is not cliché is by reading poetry. Lots of poetry. If you love poetry, read and support the magazines that keep poetry alive.)

Steer clear of one-word titles, unless your one-word title is truly an amazing and unique word. Titles like “Death” or “Friendship” tend to be more often overlooked by editors. Consider the wording of your title just as important as the rest of your poem.

Use eye-catching titles. After one-word titles, lackluster titles also tend to go unnoticed (as do lackluster poems). Pep up your poetry titles to get better results.

Develop a strong bio. At some point, everyone has absolutely no writing credentials. But the fact remains that the stronger your bio is, the more likely you’ll be well-received. For some tips on how to build up your bio, read these articles: Building Publication Credits and No Publishing Credits? Get Publishing Credentials: How To Build Up Your Writing Bio Super Fast.

As always, be sure that when you submit, you’ve researched the proper markets, prepared stellar cover letters, and followed all appropriate guidelines. If you’d like help submitting your poetry for publication, check us out. Our clients regularly publish poetry in hundreds of print journals.  Click here to learn more about how we can help you! We remove the pressures and frustrations of the submission process in order to improve your acceptance rate and give you more time to write. There’s something for every budget at Writer’s Relief.

Guest writer Ruth Gilbo writes in Tennessee and is the administrator of Poets Contest Corner (http://poetscontestcorner.blogspot.com), a weblog dedicated to the encouragement of poets and their craft.

Free verse is not poetry without form or rules. It is not written as an essay and then broken into lines. The final form is not what makes it a poem; it is the simultaneous collaboration of vocabulary, punctuation, and line break. Proper use of the tools of poetry helps to mold a piece to its final state. Simply brainstorming, then adding line breaks does not constitute a poem.

Free verse is a challenging form that utilizes the natural cadences of common speech to create rhythm in lieu of the strict usage of meter found in classic forms. Free verse is the breaking of some old rules and the utilization of new tools, not the elimination of any and all rules.

Free verse often uses the natural cadence of speech to determine the length of each line in order to bring each new thought to its natural end or pause. The tools used to do this are the line stop (established by punctuation) or enjambment (inserting a strategic line break). Enjambment must have purpose and is not to be arbitrarily employed. It should be used to pull the reader through a short line to the next, where the thought can end on a weighty word capable of making the reader pause to absorb what has just been said. Or it will cause the line to end on an article (so on the following line be sure to use a word with some weight that is capable of carrying the reader through to the natural stop). When used skillfully, enjambment will not only carry the reader’s attention through the poem, but will create tension in the piece that complements the connotations, imagery, or metaphors intended by the author.

The authors of 20th-century free verse supervened the use of end-of-line rhyming schemes, but employed the internally natural rhyming methods of repetitive sound, such as alliteration, assonance, consonance, and internal rhyme. If used skillfully, these tools not only give the reader the sense of the poem's music, but they have a practical purpose as well. To slow the reader down, try using S-L combinations: Sally slipped through flattened sheets. To make the writer pause and digest, try hard consonant sounds: He became Canadian bound.

One more note: Articles and conjunctions, like it and and, should always be used in proportion to their use in common speech. When read aloud a poem with too many ands sounds like a 1970s Valley Girl spewing “like” as she talks. It’s not natural; it takes away from the meat of the poem; it sounds like a “filler” for use in maintaining cadence; it feels forced; and, well, it’s just plain annoying.

Read more about poetry:

Poetics: Free vs. Formal Verse

How To Publish A Poetry Book, Chapbook, Or Collection Of Poems

Jokes About Poetry

How To Get Your Poetry Published

Spotlight on Poetry

The Seduction of Poetry Contest Scams

Fostering Originality In Poetry

Poetry: Finding Your Inspiration

REMEMBER TO CHECK OUT OUR LIST OF WRITING CONTESTS and ANTHOLOGIES! You won’t find a better list anywhere (AND IT’S FREE!) of upcoming anthologies, special-themed journals, and contests. Find it by visiting:
http://www.writersreliefblog.com/post/Anthologies-Contests.aspx