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Poetry groups

Poems improve in company — not always kind company, but attentive company. A group will not give you talent. It will give you deadlines, ears, and the useful shame of reading a lazy line aloud.

How to choose a room

Look for a group that critiques rather than congratulates, that has a stated etiquette, and that reads living poets as well as each other’s drafts. Avoid any workshop whose only feedback is “I love this” or “I don’t relate.” You want readers who can point at a line-break.

If you are under 18, start with Young Poets Network and the Foyle ecology rather than an adult stanza. If you write for the stage, go where microphones are. If you write quiet page poems, a slam night may still teach you about the last line.

Places to begin

  • The Poetry Society Stanzas

    UK, Ireland, Europe — in person and online

    Local and online groups run by Poetry Society members. Some critique, some read, some host open mics. Open to members and non-members; the organiser must be a member. Ages 18+.

  • Global Online Stanza

    Online · first and third Mondays, 18:00 UK time

    A Poetry Society stanza for poets anywhere. Feedback on work in progress plus discussion of form and technique. English is the working language.

  • The Poetry School — CAMPUS

    Online courses and a social learning network

    One of the largest programmes of online poetry courses in the world: generative classes, feedback groups and reading courses, with a free-to-join CAMPUS community around them.

  • Young Poets Network

    Online · ages 11–25

    The Poetry Society’s free hub for younger writers: challenges, features, and a route into the Foyle Young Poets Award. The least cliquey on-ramp in British poetry.

  • National Poetry Library community

    Southbank Centre, London, plus online catalogues

    The UK’s public library of poetry. Membership is free. Reading rooms, events, and a collection you cannot replicate with a search bar.

  • Apples and Snakes

    England · performance and spoken word

    The national body for performance poetry: gigs, development programmes and a scene that treats the spoken poem as the real one.

  • Hammer & Tongue

    UK slam nights

    Long-running slam nights in several cities. If you want to test a poem on a room rather than a page, start here.

  • NaPoWriMo

    Online · every April

    National Poetry Writing Month: a poem a day in April, with optional prompts. A structured way to generate more drafts than your inner critic can kill.

  • r/OCPoetry

    Reddit · worldwide

    A workshop subreddit that requires you to critique others before posting. Uneven, as all open workshops are, but genuinely useful if you have no local group yet.

  • r/Poetry

    Reddit · worldwide

    Reading, discussion and weekly poem threads rather than a workshop. Good for keeping your ear in when you are not writing.

  • Discord poetry servers

    Discord · worldwide

    Search Disboard or Grok for active poetry Discords. Look for ones with critique channels and a code of conduct; avoid servers that only swap compliments.

  • National Association of Writers' Groups

    UK local groups

    A directory of writers’ groups, many of which include a poetry strand. Useful if you want a mixed-genre table in a library or pub.

  • Writers' HQ

    Online · UK-centred

    A community and course platform with a no-nonsense tone. Not poetry-only, but a good home if you write across forms.

  • Roundhouse Poetry Slam

    London · young artists

    The Roundhouse has been a proving ground for UK spoken-word artists for years. Watch their programme for slams, development and shows.

  • The Friday Poem community

    Online journal and newsletter

    A weekly poem plus reviews and essays. Not a workshop, but a civilised way to stay inside the conversation.

Workshop manners

  • Bring a poem, not a life story, unless the life story is the poem.
  • Say what the poem is doing before you say what you would prefer it to be.
  • Do not defend every line. Take notes. Decide later, in cold blood.
  • Critique the work on the table, never the poet’s right to have written it.
  • Read other members as carefully as you want to be read. Groups die of takers.