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Competitions
Ilkley Literature Festival’s popular writing competitions are open to everyone and
entries for 2010 are invited from April onwards, with a closing date of September 1st 2010. Deatils of how to enter are at the end of this page.
Results of the 2009 Adults Short Story and Poetry Competition
Poetry Competition
First prize £200 and a Bettys Cafe Tea Rooms hamper
C.J. Allen 'Snail explains'
Short Story Competition
First prize and £200
Andrew Campbell-Kearsey 'Dangerous Precedent'
Poetry Competition results in full- see below for the winning poems and Ian Duhig's judgement
First prize £200 and a Bettys Cafe Tea Rooms hamper
C.J. Allen 'Snail explains'
2nd Annisa Suleiman 'Fetish' 3rd Andrea Porter 'Vintage Starlight'
Special Commendations Simon Currie 'Passchendale' Pauline Plummer 'About Grief '
Gill McEvoy 'Forgiving'
Short Story Competition results in full- see below for the winning poems and Jeremy Dyson's judgement
First prize and £200
Andrew Campbell-Kearsey 'Dangerous Precedent'
2nd Andrea Porter 'The Craft of Mirrors '
3rd Heather Reid 'Kiss'
Honourable Mention
Rebecca F. John 'Honourable Howard'
Winning Poems:
Snail explains
Before the proofs of Fibonacci was the snail that skates on foam, inching its way through Life and Fate like a Russian novel, setting
sail upon the wine-dark midnight lawn. It tastes the air and creeps along a leaf, it marches like an army and will scale a wall
with nothing but its slimy grapples. Snail the metaphorical non plus ultra when it comes to sluggish, the proverbial
exemplar. Leaving trails that sparkle like the strung-out galaxies, snail explains the stickiness of time and hauls the helical
burden of its emptiness as if it were a French horn struggled on and off commuter trains. Snail can navigate the blades’ edge
slickly as an acrobat or yogi, yet it fears the starling, salt, the sudden carelessness of god-like footfalls in the dark.
C. J. Allen 2009
Fetish
Brachioradiali pronator teres palmaris longus flexor carpi radialis. From a shallow halfpenny oval well sinewed rails stretch and twist along a plump long lotus bud. In silent pound and flex they rail the length of your wrist and hand bump to a stop at the overlong end of digitus quintus. Strange fascination knifes through days and days of regular sway.
Even with the dampening of time the thrall remains.Your arm stretches across the table top my heart skips in response but the palm is resting on its side and even flexor retinaculum evades me. A white cotton cuff cradles your wrist lucky bro ken bracelet! Now and again it nudges the black lambswool sleeve that protects against cold and harmful rays. Tantalus weeps.
You are speaking leaning across but my focus is way beneath your smile. Try as I might to stay with your eyes I can’t help myself the lie of your arm is static lifeless maddening. My energy casts out spells: daring the sun to shine the room to heat the wine the water the food to spill hoping against hope to force a pull a push a twitch a flex longing for the twist of a tiny plastic moon followed by folduponfolduponfold then revelation.
Vintage Starlight
I should have always smoked in Hollywood black and white. Miss Lauren Bacall in a bar, framed in misty smoke grey,
cheek bones lit to perfection.
I should have tapped cigarettes on the packet like Bette Davis, a staccato beat of impatience as someone out of the shot leans in quickly with a match.
I should have stubbed them out, crushed each one with a final twist
like Ava Gardner in close up, as she tires of waiting for a man to return from the jungle action.
I should have left crimson lipstick
on all the tips like Marilyn, perfect pouting cork kisses that a bit-part slips in his pocket and sells to a stalker on the lot.
I should listen to the doctors who tells me that their sequins would have smelt of smoke and that their lungs would have crackled like old celluloid.
Andrea Porter
Ian Duhig's judgement
The shortlist for this year's poetry competition was particularly strong on the kind of poetry our new Laureate, Carol Ann Duffy, describes as the music of being human; I should be more specific and say the music of the best of being human, of love, humour, recognition of beauty and the wonderful all around us, gusto, whimsy and genius.
The first of my Special Commendations goes to 'When God Made Time...' I have read love poems with more art in them, but none with more love; it is a heartbreaking lyric that had me on the edge of tears every time I read it.
My next Special Commendation goes to 'Passchendale', an honourable sonnet about honour and the loss of honourable people. Dignified and achieved, it manages a simultaneously intimate and lapidary style.
The last of my Special Commendations goes to 'About Grief', which in its title and opening invokes the great Yorkshire poet Auden, but thereafter celebrates great soul singers, a toast in and to "music distilled as a home-made brew...coarse and unfiltered, a taste of grace in bitterness". Rhymes appear with syncopated surprising effect, somewhat in Carol Ann Duffy's manner, while its rhythms are subtle and jazzy, double metre with runs in triple metre then back to double. Technically adroit, it never forgets where the roots of this music are planted, in Africa and grief. I toast its success and for a long time struggled with whether I should have been more generous to it, a struggle that continues. Finally, what distinguished the best poems for me in this year's competition is what always distinguishes a really good poem: its own individual life; how it is more like a mind than a series of thoughts, its language an event in itself, not just a record of events, and how it moves beyond skill into magic. I mentioned earlier photography as a motif, and I would say the difference between good poetry and the best poetry is the difference between a photograph and a film; poetry has always seemed to me more like film than prose, its logic one of succeeding images rather than in the novel, where, as the poet said, the writer has to keep working out how to get people in and out of rooms. Cocteau wrote, A dream is not the telling of a dream, but a dream in which we all participate together through a kind of hypnosis.
The same insight applies to poetry, and the poem to which I awarded Third Prize, 'Vintage Starlight, hypnotises us first with its film noir atmosphere, cigarette-smoke occluding its destination through a lament for lost glamour in lip-smacking kisses of language...but light and dark change places here in a kind of dance; black humour finds a truly noir conclusion, horrifically crisp.
Dark too 'Fetish', which took Second Prize and could easily have won. Its language is brilliantly original, ranging from sharp-edged medical Latin to a late, excited, cummingsy compounding. Space is often deployed for punctuation and pauses, a little like early notators of music used spaces, but its obsession with the literal medium of the writer, kissing the mouth on her or his hand, is modern or post-modern, while glancing again off past literature, as phrases like "A white/ cotton cuff cradles your wrist" echo the bracelet of bright hair about the bone in Donne.
While these two major prizewinners were strangely beautiful performances, the winner 'Snail explains' was an often-hilarious tour de force. It floats on its film, recalling Frost's description of how a good poem rides its own melting like ice on a stove. Hardly has it finished appealing to our intellect in the first quatrain with Fibonacci sequences conjured, than it launches into an outrageous simile with the Russian novel. Snail proceeds through five more smart and lovely, funny and dazzling quatrains, never losing focus on its unlikely hero, while spreading galaxies in its path. Its consonantal music opens up into sweeps such as the shell, "the helical/ burden of its emptiness...a French Horn struggled/ on and off commuter trains." I could talk about this poem for a long time, and probably will, but I want to conclude before making everybody even more jealous by saying I found 'Snail explains' simply wonderful, full of wonders. Orpheus in Cocteau's film demands of his critic what he expects from the poet. The critic replies, "Astonish us." The winner of this year's Ilkley Poetry Competition is an astonishingly good poem, and none of the shortlisted poets should feel less of their achievement because they did not beat it. I found it an excellent selection and a pleasure to judge.
Extracts from the Winning Short Stories
Dangerous Precedent
Doreen started five months ago in the charity shop. She wanted to work for a good cause. She had dismissed the ones for animals or foreign orphans immediately; she would let others care for them. The lady at the NSPCC had been friendly but there had been no volunteer vacancies. So Doreen found herself at Mind. She counted herself lucky that no-one in her family had been touched by mental illness. It must be dreadful, she concluded, after reading some of the leaflets they had displayed at the till. She had not started ‘front of house’ but instead spent her first six weeks as one of Susan’s ‘backroom gals’. This involved rummaging through the bags of donated goods, which were mostly left, out of hours, outside the shop. This was despite the increasingly blunt signs that Susan put up in the window to discourage this particular practice. A large amount of the contents could be binned immediately, especially if the bags had not been tied securely and it had been raining. Doreen found it difficult to fathom what possessed people to donate underwear with holes or stains. The washing machine was in almost constant use. She was content when she was on ironing duty. It had been a long time since she needed to press a week’s worth of work shirts for the two men in her life. This morning, Doreen arrives a full half hour before trading officially begins. She has to wait in the shop doorway for Susan –Call me Sue, everyone does – to arrive. She is one of the designated keyholders; perhaps some day, Doreen might become one too. She believes in punctuality, or rather is driven by the dread of being late. Besides, she wants to impress Susan and thus retain her hard-earned position on the shop floor. As Susan fiddles about with the alarm code, Doreen makes the first tea of the day. Margaret cuts it fine, as usual. She seems to have a fresh excuse every Wednesday, which is her only day in the shop. Doreen has built up to two and a half days. After all, she has plenty of time on her hands now. The three of them gather in the small office for the daily ‘team meeting.’ Doreen can never read upside down what is written on Susan’s clipboard. Margaret clearly thinks it to be a complete waste of time and examines her nails thoroughly. The tasks assigned are similar and repetitive but Doreen listens attentively for the next ‘bullet point’. It is only half past ten and there are no customers in the shop. Business is very slow this morning. This provides Doreen ample opportunity to ensure that the books are in alphabetical order by author. This activity provides a large amount of pleasure for her. They need a shelf just for the letter C; Jackie Collins, Agatha Christie and Catherine Cookson are terribly popular. Her tea is undrinkable. She won’t make a fuss though; doesn’t want to upset Margaret. Doreen is very particular about her sugar intake nowadays. She has cut down to a half a teaspoon. But this mug contains at least one spoonful, and heaped at that. She has told her fellow volunteer on countless occasions but it never seems to go in. At home she serves herself with a cup and saucer but here she is grateful for anything without a chip. She will wait until nobody is looking and pour it down the sink. What a waste. As she turns off the tap, Doreen catches her reflection. It must have been vanity that caused Margaret to salvage this antique effect mirror. She, no doubt, hung it above the sink, so she can check on her make-up every time she fills the kettle or rinses out a cup. A few weeks ago, Margaret let slip a detail which betrayed her age and Doreen had almost been shocked, at least certainly a little surprised. Margaret was eleven years older but from their appearances the reverse could be nearer the truth. Doreen can see what her sister means now, when she sends her money off vouchers for anti-ageing cream. Visiting the hairdresser is a luxury she had foregone several years ago. After all, the legal bills were crippling. Susan stands behind her and says, “Not like you, Doreen to be skulking out here, daydreaming. I need you out front. There’s a bit of a rush on. Chop, chop. Where’s Margaret? In the loo?” Doreen objects to that word but lets it pass without wincing. She nods, even though she knows Margaret has popped out the back for a cigarette. As Doreen emerges through the plastic beaded curtain back into the shop, she observes Susan in hard sell mode. A middle-aged man has shown interest in a tea service in the window. Susan is busy extolling its mint condition in order to justify its forty-five pounds price tag. There is a young woman looking at the scarves. So Doreen positions herself behind the counter, as a purchase seems imminent. “How much is this one?” “They’re all one pound twenty-five. The sign must have fallen down again.” Doreen is just being polite as she can see the sign in its rightful place from behind the till. The young woman looks in the different compartments of her purse and then starts going through all of her pockets. “Not got enough, dear? Show us how much you’ve got.” The young woman wordlessly shows Doreen the handful of coins. They count them out together on the counter. She is thirty pence short. “Not to worry, that’ll be enough.” Doreen hears her name called. “Excuse me a minute, dear. My supervisor needs me a minute”. Doreen follows Susan into the changing cubicle. Susan pulls the makeshift curtain behind them. “What are you doing, Doreen? You do not have the authority to discount items.” “I thought that I was doing the right thing. We’ve had that scarf for over two months and finally we’re selling it. Besides, she looks like a student and probably can’t afford much.” “It is not up to you to make those types of decisions.” Doreen can feel her face reddening. “But what can I do now? I’ve already said …” “Too much,” Susan interrupted. “I know… I’ll put thirty pence in the till out of my own money, that way we’ll be alright.” This suggestion seems to infuriate Susan even further. “Do you realise what that would do? It would set a dangerous precedent and we would have every student and down and out haggling over every item. This may be a charity shop, Doreen, but we are not in the business of dispensing charity. We have our targets to reach. Now, go and inform her that you have made a mistake.” “May I put it to one side, if she would like to come back later with the correct money? “On this occasion, yes. But if unsold, it goes back on sale tomorrow morning.” It is humiliating having to explain to the young woman. They are both embarrassed about the situation. Susan stares and is not satisfied until she witnesses the young woman leaving the shop without the scarf. Margaret reappears at this time, reeking of polo mints. “Anyone fancy a drink?” Susan and Doreen both decline the offer. After a few minutes, Doreen goes out the back to look for a duster and some polish. She never likes to be idle. She interrupts Margaret touching up her coral pink lipstick. “Has she been laying the law down again?” “It’s nothing, really. I just wanted to be kind to that young woman. That’s all. She reminded me of someone.” “Well, don’t let Susan get you down. We’re working for nothing here. She can’t treat you like a skivvy, don’t forget that; especially not in front of the customers.” While Margaret is talking and recounting Susan’s faults, Doreen remembers. The young woman reminded her of a neighbour’s daughter. Stephen went out with her a few times. But it hadn’t worked out. Her son had not shown sufficient interest. It just fizzled out. There hadn’t been many girlfriends. He seemed happier alone in his room. “Don’t you agree, Doreen?” She chooses a diplomatic nod, which seems to pacify Margaret.
Doreen never takes all of her forty-five minute lunch break. She is always back within half an hour. She eats her homemade sandwiches on a bench by the bandstand if it is fine. But today, the grey drizzle means she is confined to the bus station. She is never tempted by the shops. When she downsized from a semi-detached house to a one bedroom flat, her problem had been finding space for things she chose to keep. Her husband only lasted six months in the flat. He pined for his garden. She had made enquiries to the council about an allotment but the waiting list was over a year. If the registrar had been accurate on the certificate, shame would have been the cause of death. “Boo!” wheezes Margaret, cigarette in hand, “You look miles away.” “Sorry, I was.” “Down memory lane? Fancy coming for a coffee before we get back to the shop? She sent me for lunch early. Said she’d manage on her own; what a trouper, shall we give her a medal? It will be good to have a gossip with you. What’s the worst she can do? Sack us?” “No, I’d best be heading back. Susan’s asked me to sort through the ties and match them with the shirts. It’s a new idea she’s had about showing customers...” “Sounds riveting, Doreen. Think I’ll leave you to it and grab some more fresh air,” she says as she lights a new cigarette from her dying stub. It is not solely the thought of facing Susan’s wrath for tardiness, but the potentially prohibitive price of the hot drink. Doreen knows of some places that charge more than two pounds fifty. That she cannot afford.
“Back nice and early. I can always rely on you, Doreen.” The conciliatory tone from Susan means that a favour is about to be asked. “I’ve just been putting the finishing touches to the rotas for next week and was wondering whether you could work next Friday. I know that’s not your regular day.” “I’m sorry I can’t. I have something arranged.” “Can’t you change it, Doreen?” Susan explains in a convoluted and increasingly desperate fashion how she is short staffed on that particular day. This involves planned holidays and unexpected hospital appointments. “It would help us out so much.” “I’m sorry, Susan, but I am unable to help out on this occasion.” “Are you quite sure, I really need...” “No.” Susan is temporarily silenced by Doreen’s assertive tone. The remainder of the day passes with scant conversation between the two of them. Margaret attempts unsuccessfully to prise out of Doreen the cause of the atmosphere in the shop but she is not forthcoming with any details. Margaret offers to make tea at twenty minute intervals but her beverage interventions are rebuffed by both Susan and Doreen. Susan turns the open sign to closed and her volunteers go to collect their coats. “If you have a minute please, Doreen, I would like a quick word with you, once I’ve finished cashing up.” Margaret hesitates. “You go ahead, Margaret. I’ll catch you up and if the bus comes you get it.” “No, I’ll wait out the back, Doreen, I’m not in a ...” “This shouldn’t take long, but we would appreciate some privacy, Margaret.” She walks to the door and pulls a face behind Susan’s back. She mouths a ‘phone me later’ to Doreen. Once they are alone in the shop, Susan turns away from Doreen and clears her throat. There is a pause. “I’m disappointed in you, Doreen.” “If it’s about the scarf, Susan...” “No, it’s not just that, but it does demonstrate that you may not be suited to this type of work; not everyone is. It takes a special sort of person to work here. It’s not as easy as it looks.” “Is it about next Friday?” “No. Again, that just showed me that I have to question your commitment to the organisation. I, myself, have sacrificed several important appointments for the sake of the charity. After all, that’s the reason we’re here. I am beginning to feel that you do not place a large enough priority on the work that we do here.” Doreen all but bites her tongue. She is sorely tempted to point out that the significant difference between them is that Susan is a paid employee and that she is a volunteer. “I’m being swamped by volunteer applicants and I am having to review our current staffing arrangements. I am going to have to consider your position here very carefully.” “So what does that mean for me, Susan? Don’t you want me to work here anymore?” “I think that would be best for everyone. I would be willing to waive any notice period under these circumstances. It would be easier and less embarrassing for you if you send me a letter of resignation. Head office like that sort of thing for their records. Keep it nice and simple. I always try to keep them happy. That way, nobody, except us, would ever need to know that you had been let go.” “Please, Susan, give me another chance. I have nothing else.” “Don’t make this any more awkward than it needs to be. This is much harder for me...” “Isn’t there anything I can do to make you change your mind?” Susan rearranges a collection of glass figurines and without looking up at Doreen says, “Well, perhaps if you were able to work next Friday I might reconsider. I’m too forgiving a person. It’s one of my greatest faults.” On her way home, Doreen worries about the call she will have to make. As she lets herself in through the front door the phone is ringing. She is certain that it will be Margaret, wanting to know what had happened. Besides, nobody else calls her these days, unless they are selling something. The journalists stopped calling; moved on years ago to newer stories. Margaret can wait until tomorrow. Doreen looks through her drawer of important papers. She finds a recent letter which gives her a list of visiting dates. For a split second she hopes that she is mistaken. Perhaps it isn’t next Friday. Maybe she had got it wrong. No, the date leaps off the page at her. She feels sick that she has betrayed her son for Susan. Everyone else had given up on Stephen, and now she has joined their ranks. She dials the number under the address at the top of the page and gives the extension number to the operator. She feels terrible enough about relinquishing a precious opportunity to visit her only child. In his letters, Stephen says that her visits are the only thing keeping him going. This is a new development. One of the prison hospital doctors told her this is a good sign. Her son is ‘working through his anger’. She did not understand the phrase fully. She is simply relieved that he has not blamed her for several months now. Maybe, the new drugs are working after all. Her husband called their own flesh and blood a monster. He sided with the press. She does not recognise the voice. It must be a new member of staff in the high security wing. Doreen is spoken to as if she is a novice to visiting arrangements. This newcomer points out to Doreen over the crackly telephone line how important routine is to her son’s recovery. Doreen hears how any disappointment could have a profoundly detrimental effect on Stephen. It may not be possible to arrange another visit for the following week. She meekly says that she understands and apologises profusely. Doreen is informed that she will receive a revised visiting schedule and that she must view keeping the allotted appointment as a high priority. This is the second person today who has questioned her priorities. Who could have done more for their son? She had given up so much for him; selling her home, losing her husband, the futile legal appeals. Doreen sits in front of the television with the volume turned down. Her cup of tea has just the right level of sweetness. One of the newsreaders reminds her of her son’s victim; so many women do these days. Doreen works out how old she would have been.
Andrew Campbell-Kearsey
The Craft of Mirrors
I could get through four hares’ feet in a day; hares were cheap, Master Giovanni said and it would be stupid to spoil an expensive mirror for the sake of a hare’s foot. If I hadn’t rubbed off all the fur in a few hours he knew I had been lazy and he took his belt to me if he was in a bad mood. If he was in a good mood he pinched my ear so hard it turned red for hours and he told me if it happened again he would hang me by my ankles until my brains dropped out through my nose. That was his little joke, I know that now but for two years I thought of myself swinging in the yard; all my thoughts and memories dropping like snot into the dirt. Once the sheet of tin is placed on the stone table and fixed firm it was my job to rub a small amount of quicksilver into it with the soft hare’s foot. I have to be thorough and not miss a single spot. My right arm used to ache and throb but now it is well muscled and my right shoulder is slightly bigger than the other. I know this because I examine myself in the mirrors before they leave the workshop. They are the finest in Venice, if not in Europe and I know their reflection is true. The old man who shuffles about the workroom pushing at dirt with a bald broom has been with my master for years, he was with my master’s father before that. The old man is allowed food and shelter in respect of his long service with the family, my master can be sentimental at times. Master Giovanni cries when a large mirror exceeds expectations; he rages when one, after waiting for three weeks to reveal it from under its pressing weights, is broken or tarnished. The old man never progressed past my first job of rubbing in the quicksilver and how he is as deformed as a hunchback. He watches me all the time as if he expects me to make a mistake but I know I am far cleverer than him; I know how to watch and learn. I have learnt the art of making light reflect, of revealing everything as it truly is. Such an art can command money; it will make me respected by men. Money is important it can buy you choices and save you from the choices of other men. My mother when she was desperate for money after my father died had no choice but to apprentice me here. Some apprenticeships required that you pay the craftsman money in exchange for them teaching your child a trade. However, Master Giovanni was known throughout Venice for his generosity and his odd kindnesses towards those he saw as the deserving poor. She sold me to him on the back of my quickness at learning for eight years old and the deftness of my hands.
Andrea Porter
Jeremy Dyson's judgement
Firstly, I’ve got to say how bowled over I was by the standard of stories and the quality of writing here. Fifteen on the shortlist and not a single duffer to be found. Each story had something to recommend it and selecting the winners was not an easy task. I said when I called with my judgement, that there was an excellent anthology to be had here. Each story was entertaining – many of them lingered after reading. How inspiring. Nevertheless I did pick three winners – because I was asked to. Here are my thoughts.
1st: Dangerous Precedent - A wonderful piece of writing. A brilliant evocation of character, psychologically complex and true. A gripping narrative spun from a seemingly mundane setting – dark, compelling – builds great tension from an apparently inconsequential incident. Supporting characterisation equally impressive. Devastating yet compassionate portrayal of a blighted life. Complex yet accessible and highly readable. As good as any published short story I’ve read in recent years.
2nd The Craft of Mirrors - Original, transporting, absorbing, bold - full of rich, poetic detail. Evocative and sexy with a properly satisfying ending that punches and lingers. Very impressive.
3rd Kiss – Again, gripping from the start. A rising sense of tension ably evoked. Puts you right inside the mind of a young girl. Lovely use of observed detail. Leaves you with a question. Haunting and evocative.
Honourable Mentions 'Honourable Howard' – Original setting and character. A vivid evocation of the world and the feeling of being on stage, combined with insight as to why a comedian might do what he does. Full of rich detail. A moving end. Lovely.
'Pale Girl' – Beautifully written. Great atmosphere. An intriguing protagonist. Again, gripping and absorbing. Excellent verisimilitude.
2010 Adults Short Story and Poetry Competition
Entry for the 2010 Competitions will open on 1st April 2010. Please note: entries cannot be accepted before this date.
Short stories (3,000 words) and poems (up to 30 lines) - on any subject.
These must not previously have been published.
Entry fee: £4 per story or poem
All winners and runners up will have the opportunity to read at the Festival in October.
Entries (plus entry form) should be sent to the address below marked 'Competition'
You will be able download an application form and the rules here from April 2009
or alternatively
send an SAE to:
ILF, Manor House,
2 Castle Hill,
Ilkley LS29 9DT.
2010 Children’s Poetry Competition
Entry for the 2010 Competitions will open on 1st April 2010. Please note: entries cannot be accepted before this date.
Schools and individual children are welcome to enter these competitions
A ) Reception, Year 1, Year 2
B ) Years 3 and 4
C) Years 5 and 6
PRIZES FOR EACH AGE GROUP
A special certificate
Book tokens, kindly provided by the Grove Bookshop Ilkley
2 runners-up in each category will receive a certificate and a book
Winners in each age category will be invited to special poetry events during this year’s Festival in October to receive their prizes and read their winning poem at the children’s poetry event on Saturday
9th October.
From April 2010 you can download an application form and the rules for the Childrens Poetry Competition here
or alternatively send an SAE to:
Children's Poetry Competition, Ilkley Literature Festival The Manor House 2 Castle Hill Ilkley, LS29 9DT
Closing date: Monday September 27th
2010 Young People's Short Story and Poetry Competition Years 7 – 13 inclusive Entry for the 2009 Competitions will open on 1st April 2010. Please note: entries cannot be accepted before this date.
Schools and individual young people are welcome to enter these competitions
PRIZES A special certificate
Book tokens, kindly provided by the Grove Bookshop Ilkley
2 runners-up in each category will receive a certificate
Winners will be invited to read their work at the Cool Voices Words Club Night at the 2010 Festival.
From April 2010 you can download an application form and the rules for the Young People's Short Storyand Poetry Competition here
or alternatively
send an SAE to:
Young Poets’ Competition,
Ilkley Literature Festival
The Manor House
2 Castle Hill
Ilkley, LS29 9DT
Closing Date: Monday September 27th
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