Why do workshops work? And how can we take what they give and keep it with us, to be constantly creative by means of self-critique, self-validation, and self-editing?

I have been on very few workshops. I've tended to attend only those which were part of my academic career, or were run by friends whose work I admire (and I've even avoided a lot of those). But absolutely every experience I have had with them has been, on balance, positive. Some of the best work I ever wrote was while attending a writing poetry module run by Michael Symmons Roberts. But my style is vastly different to his, so what was the positive influence I absorbed? Was I simply upping my game to try and please him? Should I seek out great poets and pester them for validation in order to improve my work?
I'm running a workshop on Chartist poetry for the forthcoming Hebden Bridge Big Weekend for WOL, and I'm looking forward to attending the other workshops. I can almost guarantee, given past experience, that my poetry will improve during those sessions. But I don't know why. Any ideas?

For me – any exposure to new ideas, new perspectives, new people, has a positive effect on my output of anything creative I’m doing. The energy and enthusiasm you absorb from those people has got to be a good thing, and being in a creative atmosphere with like-minded people is just plain fun!
I, too, am looking forward to running a workshop, but far more I’m looking forward to attending other people’s; it’s going to be a fantastic weekend!
Cx

At a recent workshop on How to be a real poet we were asked to choose Billy Collins or Steven Waling Who is the real poet? I can't decide. Please help

And another thing why workshop why not massage parlour

I used to be involved with running a writing workshop in Bolton (now finished)where we used to spend half a hour maybe more discussing each other poems, but then try and spend more with poetry excercises... A lot of these for me are the gathering of ideas or writing in a different way to the way you usually write.

Not all of these workshop ideas worked, but when they did you could sometimes come away with drafts of several pieces which you could work over and over again if you want.

Manchester does have a few of these knocking around, I must admit but not enough by any stretch of thought (Would defo like to see more been formed)

Can you shove that fraud Billy Collins back out of the limelight, he's blocking the way for the real poets?

What IS a real poet?
Cx

Billy Collins? Isn't he a rival poet...

The column of your book titles,
always introducing your latest one,
looms over me like Roman architecture.
It is longer than the name
of an Italian countess, longer
than this poem will probably be.
Etched on the head of a pin,
my own production
would leave room for The Lord's Prayer
and many dancing angels.
No matter.
In my revenge daydream I am the one
poised on the marble staircase
high above the crowded ballroom.
A retainer in livery announces me
and the Contessa Maria Teresa Isabella
Veronica Multalire Eleganza de Bella
Ferrari.
You are the one below
fidgeting in your rented tux
with some local Cindy hanging
all over you.

------------------------------------

The work of Billy Collins is no more fraudulent in its contribution to poetry than the work of, say, Mr Steven Waling. The only difference being one sells significantly more books than the other - which is not always an indication of quality or worth - but on this occasion...

I beg to agree - which surely has to be a first...
I think perhaps Steven likes to stir discussion up now and again - it can get a bit tedious at times - especially when people agree.

And so ..... back to the topic of workshops ... any thoughts, anyone? ... on what makes a good one ... or otherwise, of course
Cx

Why is this thread called Workshops for One? Doesn't sound a very popular workshop! As to what a good one is, I HATE it when EVERYONE says, prior to reading out what they've written "Oh, I'm afraid that it isn't very good!" We may all feel like that but it gets so FRIGGIN' borin' when everyone says it!!!!!!!!!!!

Sorry, I've just said what a bad one is! Will try to be more positive in future!

You've convinced me Steven. Put me down for a copy of your latest. Keeping it real
Regards
Alvin

Sorry for the dig at Billy Collins. It's not his fault, I suppose, that I find his poems annoy me. I find them 'clever' in the sense of 'look at me, I'm doing clever' and 'funny' in the sense of 'look at me I'm being funny' - he just seems like the poetic equivalent of Jack Vettrianno to me. All clever moves and empty gestures.

But that's just me; others probably see something I don't.

Sorry Ann, I suppose the thread title is not really explained by my introductory post. What it refers to is my wish to carry the processes, lessons and inspirations obtained from workshops into my personal poetic creativity. To possess, in effect, a mobile 'workshop for one'.

On your other point, I would never announce to a workshop that the poem I am about to read is not very good. The reason for this is that, as soon as I have finished a poem, I invariably think it is a valuable contribution to the poetic canon. Five minutes later, I begin to see some of its faults. Half an hour later, it begins to look distinctly average. The next day it is clearly total rubbish.