Paul Short is a poet from Newcastle upon Tyne, currently working on his first pamphlet. His main influences are the heritage of the North East and his working-class background. Paul’s poetry has been published by Black Bough Poetry, The Broken Spine, Dark Poets Club, Flight of The Dragonfly, and several other journals.
AP: What are you working on currently?
PS: I’m currently working on my first chapbook – trying to get consistently high quality pieces without filler poems is very hard. I commend anyone who has been publishes or is working on a project now.
AP: What inspired you to start your current project, and what message or impact do you hope it will have on your readers?
PS: I had made a start a while ago on a pamphlet but then gave up after suffering imposter syndrome and some bereavement. I started writing again which felt good and was lucky enough to attend the Poetry Party held in Neath by Black Bough Poetry. That gave me a lot of confidence after speaking to some amazingly talented poets including Matthew Smith, Helen Laycock, Kitty Donnelly and many more. So here I am starting fresh.
AP: Can you describe the journey of bringing your latest work to life? What were some of the key challenges and triumphs along the way?
PS: I have drafts of poems that I am going to include but need time to edit them and let them rest a little. The biggest challenge is time. Time to read, time to write, time to finish. I have recently started a new job in the educational sector and it’s been mega busy. Sometimes I’m too tired that I’ll do a writing exercise instead. A triumph is definitely a poem that I have finalised. I think it’s possibly my best work.
AP: How do you approach the process of developing a poem from initial idea to final draft?
PS: My approach is pretty haphazard and can vary wildly from piece to piece. It does normally start with a line jotted in a notebook or something said in conversation. Then a mind map. From there I expand on the theme and focus on what I want to convey. Then it’s a matter of removing and replacing words for better flow.
AP: What themes or topics are you most passionate about exploring in your poetry, and why?
PS: Themes I write about the most are grief, love, familial relationships, society. I like to to look through the lens of the working-class.
AP: How do you see your work contributing to the larger literary community?
PS: I’d like to think my work can connect with people on a human level. Anything else is a bonus.
AP: What role does feedback from peers or editors play in shaping your poetry?
PS: Feedback is crucially important to help me improve my way work and to management my ego! Sometimes I think I have a great piece only to realise that I’ve looked at it with my own bias and another pair of eyes has picked up what I haven’t. Having input from others keeps my eyes open and mind working.
AP: Can you share an experience where a piece of feedback significantly altered the direction of one of your poems?
PS: I can’t say so at the moment. I did throw a notebook half full of drafts in the bin once after getting frustrated with myself and denouncing every thing I’ve ever written!
AP: What do you believe are the most important qualities a press or editor should have when working with poets?
PS: My top three are patience, because sometimes it can take a while for a poet to digest feedback and comeback with improvements, trust in the poets vision to come through in the end, and communication. Communication is the most important.
AP: How can presses like The Broken Spine better support poets and their creative processes?
PS: I think a good way to support poets for presses is by hosting event’s either singularly or collaboratively. This could be workshops (after attending The Broken Spine’s Between These Walls: Domestic Poetry Workshop I produced a very deep piece of work) or open mics/showcases or a mixture of both.
AP: In what ways do you feel the writing community is currently lacking, and what changes would you like to see to address these gaps?
PS: I’d like to see more focus given to smaller presses where the quality of work is in my opinion more focussed and consistent. I’d love to see a mentoring program happen in some way. It would help me!!!
AP: What do you most appreciate about the current writing community, and how do you think we can build on these strengths?
PS: The writing community for the most part is highly supportive in terms of feedback and motivating peers to improve and develop their practice.
AP: Can you discuss a particular poet or literary figure who has significantly influenced your work?
PS: I am the right age to have studied Heaney for my English GCSE. I like his variance on light and shade and how he approached the themes of death and grief and family. I’m a fan of imagism and when I started writing again I read an anthology of Imagist poets which is a great introduction to people like Pound. More recently I read a book of haikus by Jack Kerouac. His approach was very different to other haiku and in keeping with his philosophy. Highly recommend reading it if you haven’t already.
AP: What advice would you give to emerging poets who are looking to find their voice and audience?
PS: Trust your instincts and make mistakes. Most importantly believe in yourself.
AP: How do you balance the artistic and practical aspects of being a poet, such as creative expression and the need for promotion?
PS: I like to try and split my time effectively and have dedicated writing days and will do promotion at work during lunches or scheduled via social media or my site. I’m not the best at it as I hate having a rigid schedule.
