-- Posted by anonymousss at 4:09 am on Oct. 21, 2005 Poetry Writing Guidelines *All information courtesy of Writing Poems:  Sixth Edition, The Poetry of Robert Frost, The Norton Anthology of Modern and Contemporary Poetry:  Vol.1, 2 and my ol’ noodle.  Other additions provided by:  Katerie. It has come to my attention that this particular forum yields a multitude of writers, and more specifically, poets.  It has also come to my attention that many of you…need help.  I can see a lot of potential in quite a few of you, but I think, perhaps, you need some guidance and instruction.  So…voila. Key Definitions Writing Taboos -Clichés -Mixed Metaphors -Obscurity/Abstractions -Forced/Altering rhyme schemes -Redundancy -Applying Angst Effectively -Ambiguous/Redundant Wording Writing Essentials -Titling a Poem -Line breaking/Form -Imagery -Metaphors/Similes -Assonance/Internal Rhyme/Alliteration -Tone -Spelling/Grammar/Punctuation -Theme -Originality -Revision Common Types of Poems -Sonnet (Petrarchan, Shakespearean, Spenserian) -Villanelle -Pantoum -Haiku In addition, if anyone has any suggestions or feels that I've missed something in regards to the 'guidelines,' let me know, and I will certainly take it into consideration. (Edited by dovelove at 11:15 am on July 8, 2006) -- Posted by anonymousss at 4:10 am on Oct. 21, 2005 Key Definitions Ambiguity:  a poem’s ability to offer more than one plausible reading at a time Alliteration:  the repetition of consonant sounds in several words in a passage Assonance:  the repetition of vowel sounds Cliché:  stale, too familiar words, phrases, and metaphors Concrete poem:  when the physical poem takes shape Connotative:  figurative (meaning) Couplet:  most elementary stanza, two lines; when rhymed, a, a, called a heroic couplet. Denotative:  literal (meaning) Diction:  word choice - Five levels: - Formal - Informal - Neutral - Colloquial - Vulgar End rhyme:  placing rhyming words at the ends of lines Foot:  basic unit of a metered pattern (iamb is the most common, in English) Form:  preserves and, at its best, expresses content Internal rhyme:  Rhyming a word within a line Irony:  discrepancy between the author’s attitude and attitude(s) expressed within the poem Line breaks:  create pauses and introduce unexpected emphasis in a poem Obscurity:  elements which create confusion and abstractions in a work Onomatopoeia:  imitate the meaning of words (buzz, rattle, snap, whirr) Metaphor:  transferred qualities from one thing to another Meter:  the counting of the measure of beats in the lines of a poem Mixed metaphor:  a metaphor that combines unrelated, even contradictory, elements Narrative:  tells or implies a story Persona:  when a poem’s speaker is clearly someone other than the poet Personification:  treating something inanimate as if it had the qualities of a person Quatrain:  four-line stanza Simile:  when a metaphor is stated directly, syntactically announced by ‘like’ or ‘as’ Syntax:  structure of phrases, clauses, and sentences Tercet:  three-line stanza Tone:  a poem’s complex attitudes toward its subject, including the attitudes of the speaker and poet (Edited by anonymousss at 4:03 am on Oct. 22, 2005) -- Posted by anonymousss at 4:13 am on Oct. 21, 2005 Clichés Clichés are the worst thing you can do, in any creative writing!  You’ve heard and seen them over…and over…and over…until your eyes and ears bleed.  They are unoriginal, boring, and just sort of make you want to roll your eyes.  Always try to avoid using clichés—be creative! Some phrases that utilize oh-so-obvious clichés: My heart is broken Hated her with a passion She felt alive He will face his fear Young and innocent Some phrases that utilize not-as-obvious clichés: She felt so vulnerable and exposed They all marched into the future He was a loving husband She arrived like a queen The sound rang in her ears   The following is a link to a website chock-full of clichés for all occasions—just so you know what not to use: Clichés (Edited by anonymousss at 8:10 am on Oct. 21, 2005) -- Posted by anonymousss at 4:14 am on Oct. 21, 2005 Mixed metaphors Ugh, these can make you cringe.  It usually happens when an amateur poet fails to control or focus the nuances of a particular metaphor, ignoring a metaphor’s literal for its figurative meaning. Example:  If we’re to marshal our forces, we’d better swing at every pitch and try to etch our cause into their consciousness. See, first we have a likening to the military…then baseball…then art?  No, no, and no.  Not only can this confuse a reader, but it just sounds…bad and not well-thought out at all.  A focused metaphor is a good metaphor. -- Posted by anonymousss at 4:15 am on Oct. 21, 2005 Obscurity/Abstractions Your reader needs to understand what you’re talking about.  But believe me, it can be quite hard to recognize what is obscure and what isn’t. Example: Why this vile truth? To be a captive, a World War II Jew, ensnared, because of you. Now, depending on context, this stanza may or may not make sense.  However, though this stanza is somewhat focused, it can still potentially present many abstractions.  You could ask:  is the speaker talking literally or figuratively? A more (perhaps) obvious example would be: How unusual, to watch as the snow floats to earth this September, as a sky fills with brilliant red beyond the once dual fortresses. All is lost. Now, while a few might actually comprehend the meaning of this particular stanza, the majority would simply utter, “Huh?” without realizing that it is describing the World Trade Centers the day of 9/11.  ‘Snow’ obviously refers to the ash falling, and the rest falls into place (after you’re told what the hell it’s on about). (Edited by anonymousss at 4:10 pm on Oct. 24, 2005) -- Posted by anonymousss at 4:16 am on Oct. 21, 2005 Forced/Altering rhyme schemes What I mean by 'forced':  an unimaginative and monotonous rhyme scheme that does not offer any exciting change in rhythm. Example: Today I went to school And then I failed my test But everything’s okay; I know I am the best! This is not exactly brilliant writing.  Makes you almost want to bob your head up and down when you read it.  Almost. Know that not every line must match up in length! Now, when I say ‘altering rhyme schemes,’ I’m talking about the extremes.  If you decide to rhyme one specific way, don’t change it!  Of course, you might want to do it to represent a different speaker in the poem, but in general (as I am aware there are always unique exceptions), it just makes your poem choppy, leaving your reader stopping mid-sentence.  It, in essence, ruins the flow of your poem. Example: I saw him today  A He was no help  B I shall keep him at bay  A Or perhaps eat some kelp  B Then all of a sudden… Everything felt awesome  A Everything will blossom  A Don’t worry about it  B It’s just a little bit  B Just kind of makes you go, “What in the hell?”  Or it does for me, anyhow.  Feels like two completely different poems jammed into one. (Edited by anonymousss at 2:22 pm on Jan. 21, 2006) -- Posted by anonymousss at 4:18 am on Oct. 21, 2005 Redundancy This is pretty self-explanatory.  And I am not referring to repeating verses/ideas, because that is perfectly acceptable (and in fact, many different kinds of poems are supposed to do that).  I am talking about repeating an idea with different words, usually in the same line. Example: He strolled to the store walking there himself You’ve already stated that the guy’s strolling…no need to reiterate it. (Edited by anonymousss at 4:12 pm on Oct. 24, 2005) -- Posted by anonymousss at 4:18 am on Oct. 21, 2005 Line breaking/Form Gotta somewhat have form.  It does not need to be strict, just not…everywhere.  This is where line breaking can help. Know when to line break.  A lack of knowledge in this particular area leads to an incoherent, fickle, and choppy poem.  When you’ve got a rhyme scheme going (especially, end-rhyme), it really isn’t that hard to know how you’re going to break your lines.  However, when you start dabbling in contemporary, blank verse, poetry, that’s when it becomes more…difficult. Example of a bad utilization of line breaks: Fine lines and cobwebbed veins carved and molded into the skin of the hands of my aging mother. So much like the clay swirling in her grasp, the dull whirring and circling, an artistic longing, unwinding. The slow, steady pace of Adjuma takes control Example (of the same stanza) of a better utilization of line breaks: Fine lines and cobwebbed veins carved and molded into the skin of the hands of my aging mother. So much like the clay swirling in her grasp the dull whirring and circling an artistic longing, unwinding. The slow, steady pace of Adjuma takes control -- Posted by anonymousss at 4:19 am on Oct. 21, 2005 Imagery Use it!  Pull out those descriptions and really use your imagination!  It’s basically, show, don’t tell. Bad example: It was cold in December. Better example: The wisps of smoke-like breath wholly veiled the flesh-flushed pinks of ice-covered faces; digits tingled, anesthetized from December’s arrival.. A bit drawn out there, but you get the point. -- Posted by anonymousss at 4:20 am on Oct. 21, 2005 Metaphors/Similes These literary tools are so important. Basically, these particular elements, in addition to imagery, are really what give a poem its interesting content and wonder. Some similes: …the snow is like crushed aspirin.   --Cinema Vérité:  The Death of Alfred, Lord Tennyson your own whiskers that look rumpled as if something’s been in them already this morning --Pamela Alexander, from “Look Here” their faces memorized like perfect manners --Eavan Boland, from “The Dolls Museum of Dublin” The beach hisses like fat. --Elizabeth Bishop, from “Sandpiper” Now some metaphors: Silent as time, simple as snot --William Trowbridge, from “Slug” When I have fears that I may cease to be Before my pen has gleaned my teeming brain --John Keats, from “When I Have Fears” The words are purposes. The words are maps. --Adrienne Rich, from “Diving into the Wreck” My Life had stood—a Loaded Gun— In Corners—till a Day --Emily Dickinson, from “My Life had stood” When attempting to incorporate a metaphor or simile, first think of subject that undergoes transference (known as the tenor).  For example, I want my tenor to be…an eyebrow.  Okay.  What does this eyebrow look like?  Thick.  I want it to be furry and thick.  All right.  Now, what’s something that’s furry and thick?  How about a caterpillar?  Good, now we have a vehicle (caterpillar), the source of the transferred qualities.  And now, with a little alliteration, I’ve got a decent metaphor going: His eyebrow arched, a coffee-colored caterpillar crawling across his bridge of a forehead. I keep writing more in favor of prose because that is usually what I am familiar with, so pardon that particular aspect.  Nonetheless, you can apply the same, rather dumbed-down techniques for poetry. (Edited by anonymousss at 4:13 pm on Oct. 24, 2005) -- Posted by anonymousss at 4:20 am on Oct. 21, 2005 Assonance/Internal Rhyme/Alliteration These particular elements of poetry are just as important as utilizing metaphors and imagery; they can be used in any kind of poetry. Let’s first deal with assonance.  These are vowel rhymes.   Example:  lot and fop.  Pretty straight-forward.  But nonetheless, another: Why are the stamps adorned with kings and presidents? That we may lick their hinder parts and thump their heads --Howard Nemerov, from “Power to the People” presidents and heads form the assonance. Internal rhyme:  rhyming within lines, occurring anywhere throughout a specific stanza, so… Example: And I keep hearing from the cellar bin The rumbling sound Of load on load of apples coming in --Richard Wilbur, from “Year’s End” Now, alliteration, which is the repetition of consonants. Example:  But when loud surges lash the sounding shore --Alexander Pope, from “An Essay on Criticism” In a particular unfinished poem of mine, I combine all elements into one stanza: I choke, convulse Must breathe But the devil downed my heart where it lies alight, and I will take you with me. (Edited by anonymousss at 4:15 pm on Oct. 24, 2005) -- Posted by anonymousss at 4:21 am on Oct. 21, 2005 Tone This is pretty much where the poet gets to set the attitude and ‘feel,’ so to speak, of the poem.  Tone incorporates the speaker’s and poet’s attitude toward the subject.  If you’ve ever critiqued poems/prose, you should definitely know what I’m talking about. Tone gives a poem character, from dark to light, cynical to optimistic, irresolute, etc.  Edgar Allan Poe would be more associated with dark tones whereas Shakespeare, in writing of love (when he’s not off killing all of his characters), can be associated with a lighter tone. In Robert Frost's “Stopping by Woods on a Snowy Evening,” which sets a somewhat dark tone. Whose woods these are I think I know. His house is in the village, though; He will not see me stopping here To watch his woods fill up with snow. My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year. He gives his harness bells a shake To ask if there is some mistake. The only other sound’s the sweep Of easy wind and downy flake. The woods are lovely, dark, and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep. Though there are always multifarious interpretations when it comes to forms of literature, it is generally accepted this particular Frost poem (if you noticed in the final stanza) is a metaphor for death.  The speaker looks into these woods, and yearns to seek the comfort of darkness (death), but remembers that his life must continue because of “promises” (in his life). (Edited by anonymousss at 4:17 pm on Oct. 24, 2005) -- Posted by anonymousss at 4:22 am on Oct. 21, 2005 Spelling/Grammar/Punctuation Yes, you do need correct spelling, grammar and punctuation in poetry.  Not only is it a courtesy to your reader (like in all writing), but it can make or break a poem’s flow.  But just as important, it gives meaning to your content. For example, capitalization: If I wanted to refer to the southern states (in the US) in time of extreme racism, it might be best to write:  Deep South instead of deep south.  Capitalizing those two words lets the reader know exactly to which south I am referring. In relation to punctuation, simply put, it’s a necessity.  Commas let a reader know when to add a slight pause (which are ever-present in poetry).  You have periods to inform of a stop, etc. Just like writing any decent paper. More on this, provided by Katerie: This concept cannot be stressed enough.  Even if the content is remarkable, your poem will be brought down several notches because of the appearance and presentation of your writing.  Punctuation for poetry is fairly open, but whatever you do, use it.  Don't forget about apostrophes in words like "won't," and "can't," as well.   Stick with one tense.  Don't switch from past to present unless you're creating the illusion of a flashback, or really know what you're doing. Finally, know what to capitalize- it's generally, again, pretty free-range, but proper nouns are always capitalized. (Edited by anonymousss at 4:08 pm on Jan. 29, 2006) -- Posted by anonymousss at 4:22 am on Oct. 21, 2005 Theme Hopefully, as a poet, you’ll know what you’re talking about—must have a theme in mind.  If you have limited knowledge in a particular area, either do some research on it, or don’t write about it. If your poem happens to be rather abstract, try to go stanza by stanza, and ask yourself:  What am I trying to portray/say in this stanza?  This line? Try to focus your poem as much as possible.  I mean, sure, you could write about the atrocities of (general) war, but wouldn’t your poem be much stronger if you wrote of a specific war?  That way, you could really grind in those details and descriptions. (Edited by anonymousss at 4:18 pm on Oct. 24, 2005) -- Posted by anonymousss at 4:23 am on Oct. 21, 2005 Originality Self-explanatory, really.  But please, try to think of some other topic you could write about other than death, depression, and love/lust, seeing as it tends to be overdone amongst adolescent circles. Now, there’s nothing wrong with writing about those things, especially if you feel you know a lot about it and could really pour your heart into it…however, at least be original in the way you do it.  The previous Frost poem was concerned with death, but it was ambiguous in a very clever way—a metaphor. Nevertheless, challenge yourself—pick a topic you’ve never tackled:  9/11, an imagined place, c’mon, use that noggin!  If you’re Christian, perhaps you could write of heaven/hell (do try to stay specific)…if you’re not Christian, and in fact, hate over-zealous Christians, maybe you could write about that! (Edited by anonymousss at 4:22 pm on Oct. 24, 2005) -- Posted by anonymousss at 4:23 am on Oct. 21, 2005 Revision For those of you who think you can yield a first and only draft, come down from the clouds that you’re nested in, and get with the rest of the sane world.  Even geniuses revise.  You’re not going to get it perfect the first time (except Arthur Miller, bah—he’s an exception). Anyway (ANWAYS IS NOT A WORD), constantly revise and edit and revise and edit.  And then have others revise and edit.  And then do it yourself again. *Stretches* (Edited by anonymousss at 8:08 am on Oct. 21, 2005) -- Posted by anonymousss at 4:24 am on Oct. 21, 2005 The Sonnet This is a poem typically written in fourteen lines of iambic pentameter.  Iambic pentameter?  Well, first, an iamb is the most common foot (unstressed, followed by stressed), and pentameter is basically five feet.  So iambic pentameter would be: U /  U/  U/  U/  U/ U = unstressed / = stressed There are three common types. The Shakespearean or English sonnet is commonly rhymed in three quatrains (see definitions) and a couplet (also see definitions).  This leaves us with: a b a b, c d c d, e f e f, g g Example: That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruined choirs where late the sweet birds sang. In me thou see’st the twilight of such day As after sunset fadeth in the west, Which by-and-by black night doth take away, Death’s second self that seals up all in rest. In me thou see’st the glowing of such fire That on the ashes of his youth doth lie, As the deathbed whereon it must expire, Consumed with that which it was nourished by. This thou perceiv’st, which makes thy love more strong, To love that well which thou must leave ere long. --William Shakespeare’s Sonnet 73 The Italian or Petrarchan sonnet is typically rhymed in units of eight (octave) and six lines (sestet):  a b b a a b b a, c d e c d e (or c d c d c d) The Spenserian sonnet is interlocking:  a b a b, b c b c, c d c d, e e. There are all sorts of variations for sonnets—even Frost wrote quite a few sonnets himself, trying the variation:  a a a b b b c c c d d d e e (Edited by anonymousss at 8:31 am on Oct. 21, 2005) -- Posted by anonymousss at 4:24 am on Oct. 21, 2005 The Villanelle Thank the French for this one.  A villanelle is a poem of six stanzas—five triplets (tercets) and a quatrain.  It employs only two rhymes throughout:  a b a, a b a, a b a, a b a, a b a, a b a a The first and third lines are repeated entirely, three times, as a refrain.  Line 1 appears again as lines 6, 12, and 18.  Line 3 appears as lines 9, 15, and 19. Example: Do not go gentle into that good night,   Old age should burn and rave at close of day;   Rage, rage against the dying of the light.   Though wise men at their end know dark is right,   Because their words had forked no lightning they   Do not go gentle into that good night.   Good men, the last wave by, crying how bright   Their frail deeds might have danced in a green bay,   Rage, rage against the dying of the light.   Wild men who caught and sang the sun in flight,   And learn, too late, they grieved it on its way,   Do not go gentle into that good night.   Grave men, near death, who see with blinding sight   Blind eyes could blaze like meteors and be gay,   Rage, rage against the dying of the light.   And you, my father, there on the sad height,   Curse, bless me now with your fierce tears, I pray.   Do not go gentle into that good night.   Rage, rage against the dying of the light. --Dylan Thomas’s “Do Not Go Gentle.” (Edited by anonymousss at 7:33 pm on Oct. 24, 2005) -- Posted by anonymousss at 4:25 am on Oct. 21, 2005 The Pantoum This Malayan form is an indefinite number of a b a b quatrain stanzas, with this restriction:  lines 2 and 4 of each stanza, in their entirety, become lines 1 and 3 of the following stanza, and so on.  The carry-over lines are called repetons.  The sequence is ended in a quatrain whose repetons are lines 1 and 3 of the first stanza in reversed order. Example: I walked under a fire escape splashed with gasoline.     I walked past a sweatshop buried in a warehouse where dozens of women were sewing garments.     I got a job as a waiter in a downtown restaurant. I walked past a sweatshop buried in a warehouse.     My father lent me the car on Saturday nights. I waited on tables in a downtown restaurant     And ate in the kitchen with the other waiters. My father lent me the car on Saturday nights.     I took my girlfriend to the beach for parties. I ate in the kitchen with the other waiters.     Everyone laughed at my enormous appetite. I took my girlfriend to the beach for parties.     She wanted to get married, get pregnant. Everyone laughed at my enormous appetite. I wanted her so much I thought I’d die of it. She wanted to get pregnant, get married.     I wrote a poem about a closing steel door. I wanted her so much I thought I’d die of it.     I got a job in a warehouse next to a factory. --Edward Hirsch’s “At Sixteen” (Edited by anonymousss at 7:27 am on Oct. 21, 2005) -- Posted by anonymousss at 4:28 am on Oct. 21, 2005 The Haiku This a Japanese form composed of three lines, of five, seven, and five syllables.  The essence of the haiku (or hokku), however, is not its syllabic form (which is pretty meaningless in English), but its tone or touch, influenced by Zen Buddhism.  Haiku are, in general, very brief natural descriptions or observations that carry some implicit spiritual insight. Examples: The old dog bends his head listening… I guess the singing of the earthworms gets to him. --Kobayashi Issa An old pond; A frog jumps in— The sound of water --Bash Note:  These have been (obviously) translated into English, so the syllabes, which originally were five, seven, and five (being in Japanese), have changed. Basically, in English, it would appear: Blah blah blah blah blah Blah blah blah blah blah blah blah Blah blah blah blah blah (I'll come up with a better example.) (Edited by anonymousss at 4:23 pm on Oct. 24, 2005) -- Posted by anonymousss at 12:49 pm on Jan. 29, 2006 Applying Angst Effectively (courtesy of Katerie) Angst can hold a poem back.  For example, not taken from this site, Why don't you like me can you tell me that? I just want to know what are you at!?! This is simple, straight forward angst.  Mundane, ambiguous words are used in place of what could be solid metaphor and feeling.  In comparison, I have seen better in a Dr. Seuss book, which is what it's almost equivalent with.  For teen and adult poetry, angst has to be worked in with literary devices, something like this, For the moon never beams without bringing me dreams          Of the beautiful Annabel Lee;    And the stars never rise but I feel the bright eyes          Of the beautiful Annabel Lee;    And so, all the night-tide, I lie down by the side    Of my darling- my darling- my life and my bride,          In the sepulchre there by the sea,          In her tomb by the sounding sea. Obviously, this is taken from Edgar Allan Poe's "Annabel Lee."  The obvious meaning lay obvious, of his greiving for his Annabel Lee, but also the deeper meaning, what he felt all his life, and what his purpose was as a human being.  He did not refrain from stating something obvious, but he did not state the obvious.  This is what makes angsty poetry work.  Find your niche regarding metaphors and figurative language, and you should be able to succeed in what you're writing (especially if all you're used to doing is angst).   -- Posted by anonymousss at 12:54 pm on Jan. 29, 2006 Ambiguous/Redundant Wording: (courtesy of Katerie) This requires no example.   While writing, it is to your benefit to pay attention, to some extent, how many times you're using what you may consider your "favorite word."  It is true, that you do need to allow yourself to write down whatever first enters your mind, but once you begin using the same word two or three times in one stanza (or even short poem), it become repetitive, and unpleasant to read.  To ail this, try coming up with synonyms for the word you're over using.  If you're rhyming, it's generally safe to say (for a novice writer) that you need to stay away from thesauruses.  They create options that may seem appealing, but end up in turn, introducing the other, rather boastfully ugly idea of forced rhyme, which you don't want either.  Don't use words if you don't know what they mean.  For all of you more experienced poets- you know what I'm talking about, and it turns off the interest button only a few words in.   -- Posted by anonymousss at 12:58 pm on Jan. 29, 2006 Titling A Poem: (courtesy of Katerie) Be sure to title your poem effectively.  First of all, as a beginning side note, poems go in quotation marks ("__"), as opposed to being underlined or bolded.  Just to clarify.   As for the actual title- as a rule of thumb, do not use a word in the title that you have used nearly excessively in the body of your poem, unless you are trying to create a motif.  It usually doesn't work.  Also, again, don't use a thesaurus to find words that look good to use in your title, if you don't know what it means.  When in doubt, keep it suitably simple- alliteration also works well in many situations.