Vocabulary
Topic: Vocabulary
It?s 11 o?clock, do you know where your thesaurus is?

One of the defining devices of poetry is vocabulary. Poetry is a distinct and determined effort to avoid common language. The very building blocks of our entire field of literature is vocabulary -- new words, beautiful words, uncommon, unusual an interesting words, more words than most of us keep stored in our minds. This means that when we can?t find a ?good? enough word in our own brains, we must strive to find one elsewhere.

This is where the thesaurus comes in. I personally find mine indispensable. I can honestly say that the most prized gift I?ve received from my husband in 13 years of birthdays and Christmases was the thesaurus he gave me a few years ago. I have since worn it to the same condition as the one I had been using at the time; it?s pages are bent and dog-eared, the cover is scuffed, the binding is broken, and I love it. (I wonder if he knew then how many brownie points he would earn himself with a ten dollar gift?)

The significance of vocabulary is indescribable. I doubt I can offer any more valuable advice to poetry writers than to advise them to expand their vocabulary base. The thesaurus is an excellent tool to aid in this expansion. There are innumerable synonyms for most every word in our language, and hundreds of thousands of them lie waiting, like buried gold, in its pages. But you have to be careful when using a thesaurus to use words with the correct intonation and mood, and to employ them properly as far as inverting the usage. Be careful not to sound as if you opened the thing and used the first synonym you came across.
Try to avoid using words that are so obscure that your reader has no idea what the word means.

I also advise you to read. Read, a lot, read poetry and fiction and non-fiction and newspapers and novels, just READ! Sign up for ?word of the day? email notices (such as they have at dictionary.com. ) Keep a dictionary handy, for the times when you read or hear a word you don?t know the definition of. Another activity I enjoy that also exposes you to new words is completing the daily crossword puzzle.

Regardless of how you do it, make a conscious effort to learn new words as often as possible, and definitely make use of a thesaurus. If you don?t own a copy of one, you can buy a copy for about $10, and until you do, there are several online to make use of (Thesaurus.com and Mirriamwebster.com are two that come immediately to mind.) Also, most word processing programs have one bundled in with their tools ? use it.

Workshopping
Topic: Workshopping
getting differing views on your poem

Some writers object to the idea of editing or changing their poems in any way, claiming that revision threatens the purity of the original idea/poem, but many others who don?t revise simply lack the knowledge and/or objectivity it would require to successfully edit their piece. Young writers, in particular, don?t have the experience to understand or to even see the problems within their poetry, but can present a poem with great potential nonetheless. And of course, even more seasoned writers can become attached to their work, or an element within it, and need some outside input. These are all perfect candidates for workshopping.

A poetry workshop is a setting where one writer presents a poem (one that they?ve hopefully at least proofread and corrected the simpler problems such as spelling and punctuation) and receives the input and opinions of other writers. Those who provide the critiques will sometimes have differing views, and often one will spot problems or rough spots that another won?t. Above all, the critics will be objective enough to say which parts are working and which parts aren?t.
After receiving various comments, suggestions, and critiques, the author of the poem goes back to the drawing board with the poem and responses in hand, and considers all that he may or may not want to use, and edits his poem accordingly.

There are several critical mechanisms in the machinery of a successful workshop environment.

For the critiqued:
The most important component is the open-mindedness of the author who entered into the workshop for help.
They must have an appropriate amount of desire to improve, a willingness to, at the very least consider the suggestions made, and a certain level of conviction for their original intent.
Perhaps you came for assistance and input, but you should not be willing to follow all suggestions as if they were required. The suggestions given in a workshop are just that, suggestions, ideas, not law.
You must want to learn, and must want that more than you want to be correct. Think through whatever changes you makes and decide whether it enhances the intent/message, or changes the poem into something else all together.
However, in the event that there is advice offered that you disagree with, simply thank the critic for the time and effort they spent on the thoughtful critique, and ignore the suggestion. Never become argumentative. That is a sure way to have yourself excluded from the workshop environment in the future, and the workshop is an opportunity you should never waste.
Always, always, be grateful. The critics in a workshop absolutely are not obligated to offer you any advice whatsoever, you aren?t paying them for their time, so be respectful enough to offer only a reasonably polished piece of work to start out with, and to appreciate all that they do. A well thought out critique is not an instantaneous thing, the critic typically spends 30+ minutes per critique. They consider your poem from multiple view points looking for everything from grammatical errors or inconsistencies to the purity of your metaphors, to the success of your stylistic choices, and the effect of all of the above on the message you?re trying to convey. Never underestimate the amount of work involved in what they do, it is considerable.

To the critics
The other vital factor necessary for a workshop to accomplish anything is the time and effort mentioned above. A well thought out, line-by-line critique deserves a minimum of 30 minutes, especially in a workshop arena. When a less seasoned poet, or a more experienced poet who has recognized his inability to be objective with a piece, comes to a workshop, they have taken a major step. They?ve opted to allow virtual strangers to re-design (on one level or another) a piece of work that, most likely, they care for as if it were their child.

As critics, we should be gentle enough not to offend them. We?ve all seen workshops and critique boards that are harsh, and often downright mean-spirited. We?ve also watched the poet become defensive, and become so indignant and offended that they failed to recognize the value of the suggestions offered to them. Tone is of utmost importance when offering a critique, unless you just have an extra half hour or so to waste, and no interest in actually helping the writer in question.
Also, try to keep in mind the author?s personal style ? let?s say there is no punctuation in the entire piece, is this the norm for this writer? Then address it briefly, stating that you disagree with it, or that it isn?t effective for you and a bit about why, but that you understand that it is an intentional stylistic choice. Remember that they know their intentions better than you, perhaps your suggestion isn?t quite right for their original thought. Respect that, though you may be more experienced, they need to know for themselves what works for them and what doesn?t. Accept that they aren?t always going to follow your suggestions.
However, if you have the experience of doing a critique for a poet who becomes belligerent or you find that they intend not to follow any of the advice offered to them, move on to the next poet. Don?t waste your time beating your head on a brick wall. Perhaps the next time you see this particular poet they will be more ?ready? to hear a critique; until then, work with one who is. Your time is valuable, don?t bother wasting it if you feel it?s pointless.

Poetry vs. Prose
Topic: Poetry vs Prose
and the controversy continues

I have collected several definitions from different sources for both of these terms, because this topic tends to be a bit controversial. The line between the two seem to get blurred in semantics over poetic words and poetry.

Poetry: Poetry is literary composition in verse, metrical language or other patterned language. It is often contrasted to prose.
Prose: Ordinary written language, without a noticeable metrical structure. Often thought of as the opposite of poetry.
~About.com

Poetry:
1. The art or work of a poet.
2a. Poems regarded as forming a division of literature.
2b. The poetic works of a given author, group, nation, or kind.
3. A piece of literature written in meter; verse.
4. Prose that resembles a poem in some respect, as in form or sound. 5. The essence or characteristic quality of a poem.
6. A quality that suggests poetry, as in grace, beauty, or harmony:

Prose:
1. Ordinary speech or writing, without metrical structure.
2. Commonplace expression or quality.
3. Roman Catholic Church A hymn of irregular meter sung before the Gospel.
~Bartleby.com

Now that didn?t really help much at all, did it?

Contrary to popular belief, poetry is not defined by the structure or arrangement of a piece.
It is not defined as ?separating words and phrases into broken lines and stanzas.?

If I were to write this entry to look like a poem, it still wouldn?t be poetry any more than today?s front page of your local newspaper. Poetry is simply not defined by its appearance. If it can be written in paragraph form and say the same thing, and sound like ordinary speech, it isn?t poetry ? it?s prose. Poetry is rhythmic, it is full of imagery and symbolism and makes use of various poetic tools. The sentence structure often varies from common speech, and tends to require great contemplation on varied vocabulary to create a mood within the piece.

Ex:

Poetry is defined
by the artistry
of its creation,
by the language choices
that are made
to ensure
that it is not
the same
as every day writing.
Don?t misunderstand me,

prose can be poetic,

but it is not poetry.

Prose tends to be longer, wordier, more like everyday language. It uses less in the way of imagery and other poetic devices. Writing prose is not a bad thing, Stephen King has made a generous living from doing just that. He?s a talented writer, and at times includes imagery, metaphor and a sense of rhythm to his writing, however, if I took ?It? and broke it into lines, it would not be an epic poem, it would still be a novel.

Prose most definitely has a place in literature, just be educated in the difference and be aware of exactly which it is you normally write, or intend to write.

Imagery
Topic: Imagery
Show it, don?t tell it

Imagery:
1. A set of mental pictures or images.
2. The use of vivid or figurative language to represent objects, actions, or ideas.
3. The use of expressive or evocative images in art, literature, or music.
4. A group or body of related images, as in a painting or poem.

Poetic Definition
The sensory detail (not just visual) in a literary work. It also refers more specifically to figures of speech like metaphor or simile which produce mental images for the reader.

Imagery is one of the most powerful devices in poetry. (so powerful in fact that psychologists have been using it for years as a technique of behavior therapy, where the patient is encouraged to visualize a pleasant fantasy to overcome certain anxieties) It?s used to paint a picture for the reader, as a way to involve them, envelope them in the art you paint with your words. It?s an integral part of the process of poetry; without strong, vivid images, your poem becomes second-hand, and holds much less impact.

A poem without strong imagery is like a handbook, dry and straight-forward, without illustrations. Insert Tab A into Slot B type writing.

It?s what?s referred to as ?telly?.
It?s lines like,

?The tree was red and orange in Autumn.?
versus lines like
?The forest erupted in flame under an Autumn sun.?

or

?He was depressed?
vs
?The frigid crevasse of infidelity threatened to rend his soul in two?

or

?The old paper felt rough in his hand?
vs.
?A hundred years of history were hidden in the wrinkles of this document,
and transferred into his curious palm.?

You can see how much more engaging a vivid image can be.

Reading a poem should be less of a reading and more of an experience. It?s one of the main characteristics of poetry. Your job as a writer of poetry is to engage the reader, make him feel as though he?s inside the poem.
You want him to feel it, to smell and hear it, you want him to walk away with the images splashed across his mind in permanent ink.

Proofreading and Editing
Topic: Proofreading
spelling, grammar, punctuation

I started to begin this tip with a lot of misspelled words, poor grammar and no punctuation, a sort of example of the mistakes I intended to discuss. I thought better of it and started over because you aren?t going to bother trying to read it if I do that are you? It would be much too much like work.

Make your words, ideas, and thoughts accessible, don?t bury them under an unnecessary burden of faults. I?ve mentioned accessibility in several of my other tips. It?s become a sort of buzz-word in poetry lately, which tends to weaken the meaning of the word, so let me spell it out.

If your reader cannot:
A.) decrypt your spelling
B.) find your true meaning in a madness of grammatical errors
C.) figure out which parts go together and which do not in the absence (or misuse of) punctuation

then they are too busy trying to decipher ? and not busy enough with hearing what you?re saying. You make your message completely null and void ? you waste your time, and that of the reader, and more likely than not, you ensure
that most readers won?t get past the first few errors before deciding to give up the effort.

Let?s be honest, your poetry is your craft, and it should be crafted with care. If you have so little respect for your work that you can?t bother to do simple proofreading, and edit out the technical mistakes, then why should your potential readers respect it enough to dedicate their time to reading it? If you don?t show that you care about your work, readers won?t care about it either. Remember, the next, more polished, poem is just a click away.

Diction
Topic: Diction
choose your weapons

Diction
1.Choice and use of words in speech or writing.
2.Degree of clarity and distinctness of pronunciation in speech or singing; enunciation.
3.The articulation of speech regarded from the point of view of its intelligibility to the audience
4.The manner in which something is expressed in words


The vocabulary and style of language you choose to use in a poem is just as important as the images and ideas. As a writer, you must decide whether to present your story in contemporary language, Shakespearian or Miltonian language, you can also choose to write in a stylized way, such as using slang, or different dialects and colloquialisms, to further the imagery within the poem. These choices are what formulate your diction.

Often, especially when writing the more formal, structured forms, such as sonnets and villanelles, you tend to revert to more formal, ?flowery? diction. There are two reasons for this. Firstly, it?s how we were taught these forms were supposed to sound. In school we learned Shakespeare, Tennyson, and Milton, and those impressions of how poetry should look and sound are ingrained in us. (What your teachers probably didn?t teach you was that shortly after such fancy language usage became the norm, other writers began to argue that poetry should be more accessible to everyone.)
Secondly, that style of language tends to lend itself more easily to the structure of the many formal forms that were popular in that era. But who speaks in iambic pentameter nowadays?!

Realistically, poetry will always use more stylized language and word choices,
even free verse isn?t completely natural because of the process of word selection, and the idea of compressing the imagery into fewer lines and words. But neither do you have to use thee?s or thou?s to write successful poetry.

As a modern poet, the best advice you can follow is to read more poetry. Include the classic poets, but also read more contemporary authors. To write well and be ?with the times? you must be aware of what?s being done in the modern marketplace, understand what?s going on in your field now.

With the knowledge of both the past and the present, you can form your own style and decide what works best for your writing in general or for one piece in particular.

Now, go experiment.

Is your poem about a farmer? Once you get your initial piece on paper, try using different language. Try using more basic and simple language for the simple farmer, try using geographically specific language to depict the setting without saying outright where the subject is. You prefer to give the impression that your farmer is more upscale? Perhaps he?s a more modern day technically savvy sort of fellow ? try describing certain things, such as the equipment or chemical fertilizers or what have you, in more technical terms generally only used by such a person. Maybe he?s a farmer who likes to play music ? find ways to incorporate language that indicates both areas. Is he a 21st century farmer, or an 18th century farmer? You can tell your reader this with your word choices as well.

Play around, broaden your area of comfort in style and language. No one says you have to use any of these ideas in your final piece.

This isn?t dinner folks, play with your words!

Sentence Fragments
Topic: Sentence Fragments
sentences failing


A proper sentence should have both a subject and a verb, with the necessary clauses to make it complete and able to stand alone. There must be at least one independent clause. There must be a subject-verb relationship -- something or someone, doing something (or someone), all in phrases and clauses joined by adverbs and such.

In poetry, writers tend to feel that it's acceptable to use fragments. I could find dozens of poems on MTC right now that I could use as examples. Unfortunately, as much as poetry is an art and a conveyance of some feeling or impression, it should still follow grammatical rules.



For those of you who are thinking how poetry doesn't follow rules, how it's art expressed from the depths of your soul and rules simply do not apply to emotion or art, consider the effect that fragments have on the overall piece.

Let's start with an example:

Wind blowing.
Hair streaming.
Tears flowing.
Lost love.

Now this is nothing more than 4 incomplete sentences offered up in list form. There are three lines that have -ing form verbs, with no auxilliary form and therefore are not true verbs as used here. They SEEM to be a subject (wind/hair/tears) with a verb (blowing/streaming/flowing) but cannot function as such.

This is not poetry.
This 'piece' never gives the reader anything to hold onto, or to follow. It's 3 partial images, and a label.
There is nothing concrete, no place for the reader to follow the writer in order to see his 'vision' of lost love.

Now let's finish the sentences, make it more complete.

She stood
face to the wind,
with hair flowing behind her,
as her dreams had.

Her tears flowed, flooded
the dam of the river
of lost love.

OK so it's no masterpiece, but you can see how the reader has more footing in his trip through this snapshot.

The grammatical rules that poets tend to forego for the sake of 'art' only lead to better art when understood and properly applied. So if you feel the need to rebel against them for the sake of rebellion, consider whether it's worth allowing your work to suffer for it.

Point of View
Topic: Point of View
where do you stand

Point of view:
1.A manner of viewing things; an attitude.
2.A position from which something is observed or considered; a standpoint.
3.The attitude or outlook of a narrator or character in a piece of literature, a movie, or another art form.

When writing, your point-of-view focuses the vantage point of the speaker, or narrator, of the story or poem. Of course, different points of view affect the strength of the poem, and which parts of certain lines are emphasized. First person is the most common, because it?s written on the assumption that the writer is involved in the event and therefore gives the clearest most reliable account. Second tends to be a bit confusing, as most readers will interpret it in a way that they believe the writer is speaking to them, when in actuality, the writer is speaking to another individual. Third person can be effective also, as the writer is an observer of a situation, and gives his/her ?take? on it, ascribing to it his/her emotional or physical reaction. The following list is a simplified definition of the three POV?s described. There are more complicated, and more obscure, points of view, but these are he basics.

1st person:
the speaker is a character in the story or poem and tells it from his/her perspective (uses "I")

2nd person:
Second person can be written as ?you? (singular or plural). The author speaks as though he?s talking to someone, and describing what the person is doing, but is not speaking directly to the reader. It is unusual to find poetry written in 2nd person.

3rd person limited:
the speaker is not part of the story, but tells about the other characters but limits information about what one character sees and feels.

3rd person omniscient: the speaker is not part of the story, but is able to "know" and describe what all characters are thinking.

Repetition
Topic: Repetition
Repeating Yourself

Repetition ? the repeating of words, phrases, lines, or stanzas.

Do you remember learning your multiplication tables? Writing and reciting them over and over until they were ingrained in your head? Have you ever noticed that most television commercials repeat their company?s name several times within a 30 second spot, whether in writing or out loud?
There?s a reason for that -- repetition emphasizes whatever it is that is repeated, making it stand out so the it becomes the most important part of whatever you?re reading/watching or learning.

When you repeat a word (or a line) in poetry, that appears to be more important than other parts of the poem. It can also affect the rhythm a poem and the way it sounds. Repeating individual sounds or groups of sounds can strengthen the rhythmic structure. Some forms of poetry use the repetition of whole lines as part of their structure. Pantoum, and villanelle are two examples of repeating poetry where the repetition is dictated by the form.

When using repetition, keep in mind that, though it may emphasize the line or word in question, to overuse this device can lead to a sense of monotony. This is especially true when the word or phrase being repeated is one that has little appeal to a reader to begin with. Be sure that the line or word is worthy of the special emphasis it will be receiving, otherwise, you may be writing an exercise in boredom.

?It is a cardinal sin to bore the reader.?~ Larry Niven

How to comment on/critique a poem
Topic: How to Critique
We?ve had a rash of people lately who say that they believe they haven?t the knowledge or experience to offer a true critique. Today?s tip addresses that idea and explains how to do a critique in terms that even the newest of writers can follow. Remember that the process of doing a critique is as helpful and educating to the person giving it as it is to the receiver, because a thoughtful critique requires you to take a poem apart, examine its parts and pieces and see why they do, or don?t, fit together in a successful way.

Start on a positive note
Whenever replying to a poem, especially if you?re doing an in depth critique, find 1 or 2 redeeming qualities, something(s) the writer did right. Discuss them, explain why they worked for you in the context of the poem. This helps soften the blow of hearing the negatives you?re about to point out.

Clarity
Bring to the writer's attention any imagery, lines or passages you don?t understand. This is the time to discuss standard spelling, punctuation and grammar; they are vital to the clarity of the poem.

Locate the subject
Figure out what the poem is about. If the subject matter is unclear, tell them so. If you find a poem that you find you can?t decipher the subject, any further commentary would probably be of no help to the writer.

Interpret the writer?s motivation/inspiration
This is a separate issue from subject. As a writer, one has to be able to convey why they wrote this poem at this time. Many poems can be written about war for example. While one author may write it to praise the soldiers, another may write to speak against war in general, and yet another may write to memorialize one soldier in particular. This motivation must be made clear in a successful poem, or the writer has not treated the subject effectively.

Offer suggestions for revision
Be specific, the more specific you are the more helpful it will be to the writer. Are there lines that could be cut without damaging the integrity of the poem? Word choices that could be better, more descriptive? Are the images clear, Are the metaphors pure? Are there cliches that need to be weeded out or reworded?

Critical Direction
Refrain from commenting on the poet vs. the poem, and be careful of your tone. Remember that you?re critiquing a piece of writing, not the person who wrote it. Don?t make personal commentary on their beliefs or opinions. This is considered a personal attack, and is rarely allowed on poetry forums. Also keep in mind that in this electronic medium, there are no physical cues such as facial expressions, voice intonations or body language to help interpret your tone, so carefully choose your words so as not to offend the writer.

If you offend them, they go on the defensive, and stop hearing what you?re saying, which means you?ve wasted the time it took you to do this thoughtful critique.

Now go forth and crit!

The Image Progression Plot
Topic: Image Progression
When you are composing a poem that is primarily a series of images, the image progression plot is probably the most effective plot to use. In this plot, the images in the poem are arranged in some way that makes sense. Some examples of this progression are:

moving through the senses as if one were slowly approaching a scene -- the phenomenon is seen, then heard, then smelt, then tasted, then touched.

You can order the progression through the senses in other ways, as well; try reversing the order and moving away from the scene.
going from vague, abstract images to clear, concrete ones
progressing from gentle imagery (soft, misty, warm) to harsh (sharp, loud, burning)
increasing the contrast
There are many other progressions one can use to organize the imagery in a poem; simply be aware of the imagery you are using, and group it in whichever way will achieve the effect you want.

Title
Topic: Title
sometimes labels are a good thing

1. An identifying name
2. A general or descriptive heading

Poems were once known by their first lines or by the author and general subject. In Shakespeare's time, titling a poem separately became popular.

Some poets complete a poem without adding a title, but a smart poet uses a title to lure the reader into the poem. Your title can be used to define the work, or be a tease with a hint about the subject of the poem. It can summarize the piece, or be a play on words.

Sometimes the title is the poem's first line, and is meant to be read as such, though I think this leads to confusion for the reader.

Regardless of the way you choose your title, remember that, particularly in the realm of internet poetry and forums, your title may be the thing that decides whether anyone reads your poem at all. Make the title interesting, something to give a reader reason to open the page and read it. Avoid the mundane or cliche. Use an interesting title to be 'advertisement' of sorts, to sell your work to the reader.

Flow
Topic: Flow
1. To move or run smoothly with unbroken continuity, as in the manner characteristic of a fluid.
2. To move with a continual shifting of the components.
3. To proceed steadily and easily.
4. To exhibit a smooth or graceful continuity and smoothness.

It's important for a poem to have a sense of flow to it, one that, in a successful piece, helps to move the reader along and through the poem. If the poem lacks flow, it destroys the coherence and connections within the poem. It will feel disjointed and the reader will inevitably, feel disconnected from the original intent of the piece.

Flow is achieved through the proper use of line breaks and syllable count, word choices and punctuation. Try reading your piece out loud. Are your line breaks in logical places, where you normally pause to take a breath? Do the words you've chosen sound good together or are they disharmonious? Does the punctuation you've used indicate a pause or full-stop in a place that causes an unexpected halt?

Of course, there will be times when you choose a subject matter that may be enhanced by the use of discordant word choices or line breaks, where you want the line breaks to reflect a conflict within your poem. This is also a common usage for 'flow' -- by purposefully doing without it.

In either case, make sure that flow is something you're consciously aware of as you're writing. Make the choices based on your subject matter, and be informed about the effect of your choices.

Shiftless Tenses
Topic: Shiftless Tenses
Past, Present, Future

Verb tense, as in yesterday, today, tomorrow,
we all understand the concept of conjugating a verb based on time
-- (yesterday) I ran, (today) I run, (tomorrow) I will run ?

right?

In poetry, consistent verb tense is important, because generally speaking, poems are much shorter than, say, an essay. This leaves the reader with more opportunity to get confused about when something happened, because of the lack of context from which to make that decision. In a story or essay, we can shift tenses a bit more easily, especially in the case of dialogue, where people in the present tense discuss events in the past tense for example. The length of the piece gives the writer time and context enough to explain which tense applies to which part of the story. However, in poetry we lack that opportunity, it?s very difficult to shift tenses within a poem without leaving it with a case of jet lag, though it can be done, if the piece is fairly long, or in a case where the writer uses some form of formatting to clarify.

Each tense can give a piece a different mood.
Past tense can feel wistful and nostalgic ? reflective.
Present tense tends to give you the feeling of being solid and current and tangible.
Future tense can give you a feeling of uncertainty perhaps.

Each tense can serve its own purpose, add its own effect. The important thing is that they don?t shift and confuse your reader. It is much more effective to ensure that your tenses always agree, from one stanza to the next, throughout the entire piece. Give your reader solid footing to walk on while he reads. Don?t give him reason to stumble or become perplexed.

Cosmetics
Topic: Cosmetics
Sometimes we write according to the requirements of a particular form, such as Haiku, or (one of my new favorites) Tetractys.
Sometimes, breaking the line, or stanza in a particular place creates the pause or stress we want for a specific thought or idea within a piece. We center a poem, for the aesthetics, we indent a stanza to create emphasis, we create a particular appearance that may (or may not) add to the message of the piece. Each of these choices can be an effective tool in allowing us to show our readers how we want the piece to be read or interpreted.

And then sometimes . . .

We allow our message to be

S
u
c
k
e
d

~*~

swirled

L
o
s
t
in an


ABYSS

Of visual

?art?

Trust me on this one. You want the reader to get your point without having to jump all over the page, scroll down, then back up, shift from side to side, stand on their head, or try to interpret Morse code, or ASCII. Let your words ? or rather the meaning of them ? tell your story.

Use ellipsises sparingly, and use them correctly, they are three (3) periods, separated with space. (. . . ) Not 7 periods, not two periods. Three, spaced. They?re used to show that a sentence or thought was unfinished, don?t hang a few dots on the end of a line and then finish the sentence in the next line.

Avoid using question marks whenever possible, find a way to word the question so that the ?doubt? or ?uncertainty? is conveyed without the actual question being spelled out, questions are weak, and lend only their weakness to poetry.

Avoid cutesy little flowers (ex: ~*~ or ---<@) because they don?t lend anything to a piece, except the feeling you?re either in a chat room, or a classroom.

Don?t use all capitals, it?s rude. It doesn?t work to convey anger, especially if the language itself doesn?t show the anger, and if your language does show the anger, why use the caps at all?

Should you decide that you simply must use these gimmicks, have at least five good reasons in your own mind why you can?t do without them, and be prepared to share them.

Rhyme
Topic: Rhyme
1.correspondence in the sounds of two or more lines (especially final sounds)
2. a piece of poetry
3. compose rhymes
4.be similar in sound, especially with respect to the last syllable

Rhyme is a pretty basic concept in poetry,
or, is it? There?s perfect rhyme, or half-rhyme: masculine, feminine or triple, as well as eye rhyme and internal rhyme. Maybe not so simple as most think. We tend to think of rhyme as simple, more for it?s effect on poetry than the level of difficulty involved in understanding it and employing it.
Unfortunately, many people are so ingrained from childhood that rhyme is the defining characteristic of poetry, that some never overcome that belief and fail to understand that rhyme is more complex than ?cat? and ?hat?. There?s a reason they teach perfect rhyme in elementary school ? because it creates elementary poetry!
Another problem with rhyme is what?s called ?forced rhyme?. This is a situation where the writer is so concerned about the integrity of the rhyme scheme that he sacrifices the integrity of the piece itself, by adding or subtracting words or lines simply for the sake of getting a rhyming word into the right spot. This results in poetry full of unnecessary language and lines that make little sense or are unrelated to the original message. In a case like this, the rhyme cannot serve to strengthen poetry, only to weaken it.

This can be solved by using a different type of rhyme or a looser rhyme scheme, or, believe it or not, doing away with rhyme all together, depending on which works better within the piece. Whichever you choose to do, be informed and educated on the different types of rhyme to give yourself, and your piece, a better chance to succeed.

Perfect Rhyme:
Also known as exact rhyme

The words start with different consonant sounds, and have identical stressed sounds. In the case of a multiple-syllable word, all following syllables are rhymed as well.
Ex:
mine, fine, wine, line, tine
sending, mending, tending, lending
slow, flow, glow, snow

Half Rhyme:
Also known as near rhyme

Rhyme in which the final consonant sounds of two words are the same, but the initial consonants and the vowel sounds are different.
Ex:
soul, oil, foul
taut, sat, knit

Masculine:
Words beginning in different consonant sounds end in identical stressed syllables
Ex:
Support, retort, extort

Feminine:
Also known as double rhyme
Words where the first syllables are different, and then are followed by a stressed rhyming syllable, and an unstressed rhyming syllable.
Ex:
Survival, revival, arrival
Triple
The words have different consonant sounds followed by identical stressed vowel sounds and then two identical unstressed syllables.
Ex:
Greenery, scenery, machinery

End Rhyme:
Also known as Terminal rhyme
End rhyme is self explanatory ? the rhyming words fall at the end of two rhyming lines.
Ex:
?They walked slowly, hand in hand
and found the nearest hot dog stand?

Internal rhyme:
This also refers to the location of the rhyming words in the lines. Internal rhyme is when two rhyming words are placed within a single line.
Ex:
?She sang her song, sweet and long
Until he fell asleep?

And for the fun of it:
Eye Rhyme:
When two words appear to rhyme, but don?t.
Ex:
Bough, tough, though


And you thought rhyme was simple!?

Brevity vs. Verbosity
Topic: Brevity vs Verbosity
how much is too much?


Brevity:
1. The quality or state of being brief in duration.
2. Concise expression; terseness.

If your message is conveyed more successfully in 10 words, why use 100?

Verbosity
1.Using or containing a great and usually an excessive number of words.
2.Wordy.

The idea of poetry is to convey a message, an image, an emotion, to the reader. To do this successfully, the reader has to be left with an impression of your work that lasts beyond the actual reading of it. It has to have enough power that they remember it.

In order to accomplish this feat, we often use flowery language and too many words, trying to convince them to hold on to the idea we?re trying to get across to them,. Unfortunately, that usually has the opposite effect of what we?re trying to achieve. Too many words, particularly modifiers (adjectives, describing words) tends to bury our idea, hide it from the reader, who is then forced to dig through the excess to get to the good stuff, which, frankly guys, they?re probably NOT going to do.

The solution is to cut out the overkill, make every word count, make every word mean something, and have a reason for every word choice.

The Plan
Topic: The Plan
beginning, middle, and end

How many times has something you?ve seen or heard sparked your creativity? An image, or one of those ?perfect word combinations? that get to floating around in your head that demands that you write it a poem? We get our inspiration from anywhere, everywhere, and occasionally, nowhere at all, but inspiration is just the start of a poem. As writers we have to take that spark and build on it.

A successful poem has to have a logical progression the reader can follow, a distinguishable beginning, middle and end, just like a story. If we lack any of them, the reader will infallibly be left with a feeling that he?s been cheated out of the experience of what a good poem is.

Beginning
This, the beginning, is the most important part of a poem. Without a strong beginning, particularly a first line or thought, you?ll never have[/r] readers. You have to start with something strong enough to get their attention, and interesting enough to draw them in.
The strongest of ideas, the most brilliant inspiration, will go unnoticed if you can?t get your reader inside your poem.

Middle
Now that you?ve got them this far, you owe it to them to make it worth their while. Walk them through your thought/idea/image/story with strong language, and a feeling of progression. Don?t draw them in and leave them bewildered as to why they bothered. Readers are a fickle lot, and in this day of point and click especially, it?s all too easy to move on to something they find more interesting. It?s your job to hold them there, not their job to muddle through confusing or bland poetry to discover your hidden meaning. Another thing to remember, your reader is not a mind reader, make sure that you?re being clear and the piece is accessible. You know your inspiration, make sure you?re expressing it to your reader.

Ending
Smack ?em! (Or rather, make them smack themselves, in the forehead.)
Make your last line strong, compelling, forceful, powerful, stimulating and unmistakable.
The last thing they read is the thing they remember. Make your piece stand out in their mind, make them remember it, think about it all day. All the rest of the work you?ve done is for the sole purpose of this final stanza/line. Don?t disappoint your reader with some weak little bit of something. Make sure you give this a lot of thought and consideration. And be careful about sounding like you just couldn?t find anything, ran out of ideas, and slapped something on here at the end. They?ve gotten emotionally involved by this point (as long as you?ve done it right anyway) now give them their reward. Use the ending to tie the rest of it together, wrap it up and make it cohesive, and intense.

Alliteration, Assonance, and Consonance
Topic: Alliteration
alliteration
1. The repetition of the same sounds or of the same kinds of sounds at the beginning of words or in stressed syllables.
assonance
1. The repetition of similar vowels in the stressed syllables of successive words
2.The repetition of identical or similar vowel sounds, especially in stressed syllables, with changes in the intervening consonants.
3.Rough similarity; approximate agreement.
consonance
1.The repetition of consonants or of a consonant pattern, especially at the ends of words, as in blank and think or strong and string.
2.The property of sounding harmonious


Now I realize this is pretty elementary terminology, and these are probably three of the most basic of poetic devices, but don?t email me about my ?Poetry for Dummies? series just yet, ok? I want to delve into the uses of these three things, simply because I think most writers tend to use these without thinking much about it, and therefore, we become comfortable with them and don?t pass along to new writers just how or why they work, or don?t. Often we use them with so little conscious thought that even we don?t consider how they work, we just ?get a feel? for it, and off we go.

1. Alliteration is often over-used by less seasoned writers, leaving their readers as though they?ve come away from a tongue twister. She sells seashells on the seashore, The poor parched pooch perched on the post on the porch, Peter Piper picked a peck of pickled peppers. No one wants to read, or for that matter write a poem that the reader can?t keep straight in his head. However there are ways to use alliteration that can lend a piece a complimentary effect. Personally, I find this true more with the softer consonant sounds, such as ?s? ?z? and ?th? as well as ?j? and the soft ?g? sound.
*Note that alliteration refers to the initial sound in a word, or the first letter/letter combination.

2. Assonance is a sort of ?trick word?. Ask most newer or younger writers, and they couldn?t define the word, yet they tend to be the ones who use it most. They can write in rhyme, and not know they use assonance in their work.
*Note that assonance refers to the internal sound or letter/letter combination of the stressed syllable.

3.Consonance is useful when looking to create a staccato effect, as a drum beat. It?s probably the least utilized of these three. We tend to think more about the end of our poem than the end of our individual words.

Enjambment
Topic: Enjambment
1. The continuation of a syntactic unit from one line or couplet of a poem to the next with no pause.

2. the breaking of a phrase, clause or sentence by the end of a line or between two verses.


Enjambment is in contrast with end-stopping,
where each linguistic unit corresponds with the line length.

Meaning flows from line to line, and the reader's eye is pulled forward. Enjambment creates a feeling of acceleration, as the reader is forced to continue reading after the line has ended. However it can also cause some confusion and unnecessary mental pauses within a thought or idea when used in an unusual manner or placement.

T.S. Eliot's poem "Gerontion" is heavily enjambed:

"After such knowledge, what forgiveness? Think now
History has many cunning passages, contrived corridors
And issues, deceives with whispering ambitions"

while Alexander Pope's "An Essay on Criticism", are completely end stopped:

"Nature to all things fix'd the Limits fit,
And wisely curb'd proud Man's pretending Wit:"

Enjambment is another of the poetic devices that can serve good or evil, depending on the writer's usage, and intentions.

When writing about inner-city construction and traffic, creative enjambment may be just the trick, to add that jumpy jarring effect. When writing about a waterfall, one can create the movement and "flow" with enjambment used in a traditional manner. When writing about the serenity of early morning sunrise, end-stopping is probably more effective.