Original Poetry/Lyrics Guidelines

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What is the "art" of poetry?

The most common complaint I've gotten about this guide is that "poetry has no rules." How dare I post something that restricts the creativity of poets? xp Let's take a moment before diving into this guide to understand why it's here and how it can benefit you, regardless of your style, use, or preferred writing method of poetry.

Art, in any form, has a wonderful duality: the technical aspect, and the emotional aspect. Both aspects are equally important in any work of art. Some people are masters of technique and can execute amazingly difficult things; others just have a knack for communication through art and can connect to an audience in a way that may be simple, but elegant.

It is very difficult to teach the emotional side of art. In fact, it comes naturally to everyone: we can all feel emotion and do on a constant basis. However, just because you have felt something deeply, it doesn't mean you can instantly write fantastic poetry. That's where the duality comes in. If you lack the tools to express yourself, you end up sounding muddled, boring, or even perhaps completely nonsensical.

On the other hand, we can teach the technical aspects of an art with some degree of success. It is possible to become a master of the technical without having any love for the emotional impact of an art, but that's between the artist and his/her work. Therefore, to produce a resource that is useful for everyone who visits this forum, I have oriented it to focus on the things that we can teach, control, and fix in a workshop setting. 3nodding The information in this sticky is meant to inspire you to explore some of the amazing things that the technique of poetry can offer.

There is also a distinction to make between "therapy" and "craft" poetry. Therapy poetry is any poem which is written to release an emotion (sometimes used in actual therapy), and craft poetry is any poem that is written with the intent of polish and refinement into a work of art. Neither form of poetry is necessarily more valuable than the other. However, please keep in mind when looking for poetry to share that therapy poetry might not have a place in a workshop forum such as this one. As a final note to this portion, I've kept Angelina Lecter's therapy poetry myths for reference, as they directly and accurately describe the view of poetry on this forum.

With that behind us... let's get on with the guide!

Quote:

"Angelina Lecter"
On the Poetry/Lyricism Board, regulars often distinguish between poetry written as a means of catharsis, called "therapy poetry," and poetry written with artistry in mind. Many arguments have cropped up on various poets' threads because of disagreements regarding the purpose of poetry. Those in one group often find it difficult to respect the views of those in the other. As a member of the "poetry should be artful" camp myself, I have thus written these common arguments up in a way that is biased towards my own opinions. However, it's best to be aware that there is a schizm on the Poetry board along these lines, whether or not you happen to agree with me.

Therapy-poetry Myth #1: "Poetry is about feelings. If you're not trying to sell your poetry, it doesn't have to conform to artistic standards."

Response: The reason those standards exist is because they define the elements of a poem that make it effective. If a poem is missing enough of those elements, it conveys nothing and hence is useless to anyone other than the author. Or possibly the author's friends.

Therapy-poetry Myth #2: "The age and life history of a person reading a poem directly pertains to his or her capacity to comprehend that poem."

Response: The work proclaims its maker--but only if it has been well-made. Life experience and ability to criticise poetry, while they may be correlated to one another, do not have a direct cause-and-effect relationship. However, the amount of time and effort a person has put into the study of poetry does pertain to that person's ability to comment on poetry.

Therapy-poetry Myth #3: "The only reason one person would bad-mouth another's work is out of jealousy. Similarly, it is perfectly appropriate to say things such as 'I'd like to see some of your poetry as proof of your ability to judge' or 'I bet you wouldn't be able to deal with it if someone said that about your poem.'"

Response: It's very important, if you plan on making this argument, to actually go and look at the other person's posted work beforehand. I can't tell you how many times I've seen this argument used against people who regularly post excellent work that the accusing party simply never bothered to read. While it is useful to see if one person actually does have a higher level of poetic skill than another before drawing a comparison between them, it is rarely polite, especially if done in haste.

Therapy-poetry Myth #4: "A poem drawn from an author's experiences is a direct embodiment of those experiences. To criticize the poem is to criticize the experience that inspired the poem."

Response: As alterdayshift once remarked, it is our great respect for sorrowful experiences that causes us to demand high-quality poetry about those experiences. A poet who writes a bad poem about a meaningful experience and demands that others praise the undeserving poem because of the experience is committing a greater injustice than those who berate the poet for failing to be worthy of his or her subject matter.

 

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What are the poetic elements?

How can we best define what a poem is or isn't? Sometimes, it may be as simple as saying, "Not prose." xp

But we see many instances of poetry which skirts the line of prose. Sometimes, people will claim a work as a poem with no clear justification other than their own opinion. However, there are a few key elements we can look at to more rigorously define a work as a poem. These are often referred to as poetic devices.

This guide will explore the following elements in detail:

Words. Grammar, punctuation, and spelling in poetry; tools at the poet's disposal; wordplay.

Meter. Beats and patterns; how to describe a metrical line; strophes.

Rhyme. Strict rhyme; slant rhyme; internal rhyme; resources to assist with rhyming.

Form. Purpose of form; recognizing and describing forms; types of forms.

Metaphor and simile. Relevance of comparison; building successful imagery.  

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Words: The Building Blocks of Poetry

Sounds pretty obvious, right? However, much like a painter ought to know his/her brushes, a poet must be able to appreciate and understand his/her own tools. In our case, we have words and punctuation.

The Importance of Spelling

Spelling is about the only absolute in poetry. There are some words that have flexibility based on which side of the pond you're from, but aside from cultural differences, it remains an important part of our language that cannot be disputed.

Why should this concern the poet? In the first place, good spelling shows care for your work. It shows your audience that you took the time to go through and remove any mistakes. A well-spelled poem is not necessarily a great poem, but it does present polish to the presentation as well as displays a basic respect for the language you're using.

Most importantly, there is no excuse for presenting a poem with spelling mistakes. Resources such as http://www.dictionary.com/ are available whenever you need them, and you can find dictionaries in any bookstore. They are a necessary tool for anyone, especially poets.

Does this mean you are never allowed to take creative liberties with spelling ever? Heck no. I'd be very sad if that were the case. However, you need to be able to differentiate between a liberty and a mistake.

The Yes and No of Grammar

While grammar may be the most annoying part of any poem to write, it remains an essential part of poetry. The rules of grammar are no different in poetry as they are in prose; poetry merely offers more flexibility.

Some poetry is successfully written without punctuation or lots of stretching when it comes to grammatical rules. That does not make it any less legitimate than a poem which uses perfect grammar and punctuation. However, the use of poetic license is only possible once you have mastered the rules which you plan to break. It is actually more difficult to break the rules well than to follow them.

Buy or borrow a good book on grammar, and make sure to study it well before attempting to jump into a poem without it.

Punctuation, Done Properly

Just because you're entering a more flexible world of writing doesn't mean grammar stops applying. Sorry. xp However, punctuation shouldn't be viewed as a chore. It is a useful tool for emphasizing specific parts of your poem and managing its flow. A brief rundown of the types of punctuation follows.

Quote:

We have several devices at our fingertips; for instance, there are semicolons and commas that distinctly set pauses (and parentheses, which can offset a thought). Periods signify the end of a thought. However, when used skillfully, exclamation points can really drive something home! As for ellipses... well... they're better off used sparingly than frequently. Perhaps-- and this is just a thought-- dashes would carry a stronger effect. With regards to the colon: it can make an interesting setup to the next idea. But is the question mark really valuable?

There are a couple of key things to note about punctuation. For instance, it isn't required at the end of each line. I cannot number how many times I've seen people throw commas at the end of lines without purpose. Not even the old dead guys do that. Your best bet is to lay them exactly where they should be.

Tip: If you're not sure about your grammar, write your poem out in a paragraph. Insert appropriate punctuation, then reassemble it using your already set line breaks. Voila!

Can you take liberties with punctuation? Of course. However, it will generally fit better if you stay mostly faithful to the rules of the language. Don't use commas to separate independent clauses, don't put a period after a dependent clause... you know the drill.

Vocabulary: When is it too much?

Blood? Sadness? Passion? I'll pass.
Consanguinity? Abasement? Concupiscence? I thought I was reading a poem, not a thesaurus. gonk

It's a constant struggle for poets. If your words are too simple, you might lose the interest of your reader because the vocabulary doesn't invigorate them. If they're too complex, you have them reading your poem in one hand and their dictionary in the other. I know many experienced poets feel indignant if people would prefer they "dumb down" their works simply so it's more accessible to the reader.

It never hurts to expand your vocabulary. (I just did! I didn't even know how to pronounce "concupiscence." wink Learning new words is a wonderful experience - at least, it should be, if you're interested enough to read this guide. wink I myself am the proud owner of The Superior Person's Book of Words and The Highly Selective Dictionary for the Extraordinarily Literate. Does that mean I'm going to turn around and start using words like "operculum" and "jactation" in my poems?

It depends. Jactation, which means "boasting [or] bragging," has some delightful pun possibilities as well as a rather simplistic definition. I might lose the reader for a word, but with enough contextual support, I could create a use for the word as well as a way for the reader to keep moving through the poem without having to stop and look things up. Now, if I used that word along with 15 other uncommon ones, I might bring readers to unnecessary tears.

The key to vocabulary, then, is balance. If you wish to use more difficult words, be ready to build strong supports for them. Use them with purpose. Avoid overloading your reader, but live up to your abilities. You still want to be able to communicate with your audience. Do so with elegance.

Words and Wordplay

This is the fun part of using words! xd

Maybe you can't spell to save your life. Maybe the word "participle" sends you into convulsions. I won't necessarily say that's okay, but it's not the end of your life as a poet. After all, that's what peers and reviews and English textbooks are for. Another necessary aspect to the words of your poetry is the sound of your words.

One common example of this is alliteration, or a series of words all starting with the same letter/sound: "stark staples staring stagnantly," or "foaming fog fears fish." This is a beneficial tool because consonant sounds can change the feel of your piece. Consonants like t and k are harsh (known in diction as "plosives" wink , where f and sh are softer (known as "fricatives" wink . If you want to take a class in diction, it's tons of fun and really informative when it comes to the relationship of consonants and vowels and all that.

Why does this help? The mere sound of your words can help set the mood of your piece. You can adjust the aural sensation by placing more pleasing sounds together, or line up a string of explosive repetition that gives sharp accent to your piece.

Even if you don't often read poetry aloud or hear is spoken, sounds plays a very important role. Check out the poet's glossary below for some other important words to know.

Another thing to consider is puns. Offering a bit of humor or drawing out the juice of that double meaning can make your poem that much fun to read and write.  

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Meter

Meter is one of the fundamental building blocks of poetry. Even when not used structurally, it can enhance a poem's delivery. Whether it becomes a staple of your style or not, it is an absolute necessity to understand its purpose, definitions, etc.

Everybody hears the phrase "iambic pentameter" and throws it around in the hopes of looking smart. We're going to break it down so you can actually use it and be smart. wink

Let's start with syllables. Syllables are the number of distinct sounds in a word. So, the word "syllable" is three syllables long (syl-la-ble). Often, dictionaries will include a syllabic break-down of the word you're looking up. It is not important to know which letter goes on which side of the hyphen, as long as you understand how many sounds there are. (Some words are a little ambiguous, like "wild," as different dialects may conflict with regard to how the word is pronounced.)

So, how do we describe these patterns of syllables?

The first half of the phrase describes the way each foot in the line works metrically. A foot is a poetic unit in a line, characterized by the number of syllables and which syllable is stressed. There are five common types of foot: the iamb, the trochee, the anapest, the dactyl, and the spondee. They look like this:

iamb - duh DAH - foretold, avoid, forget
trochee - DAH duh - orange, balmy, total
anapest - duh duh DAH - in a while, entertain
dactyl - DAH duh duh - wonderful, spectacle
spondee - DAH DAH - well done, bread box

(see http://openpoetry.com/foot for more varieties and detail)

Therefore, lines could be iambic, trochaic, anapestic, dactylic, or spondaic. That's the first half of the description.

The second half refers to the number of feet in the line. Pentameter means there are five feet in a line, as penta- is the lovely prefix meaning "five." Similarly,

dimeter = 2 feet per line,
trimeter = 3,
tetrameter = 4,
pentameter = 5,
hexameter = 6,
heptameter = 7, and
octameter = 8.

They start to become rarer as it gets bigger. I'm not sure anyone has had the patience (or the sanity) to go any longer than octameter.  

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Rhyme

Quote:

"Rayinte"
Rhyme and Rhyme Scheme

Not all poems must rhyme. But rhyming is irrevocably associated with poetry, and so you'd better get used to it.

A rhyme is two words which end with a similar sound. An example would be "light" and "night."

Most specific structures of poems have a "rhyme scheme." It's denoted in a particular format, with a different letter representing each different rhyme-group.

For example, in an "a-b-a-b" poem, the end of the first line would rhyme with the end of the third, and the second and fourth lines would rhyme with each other.

If you're going to be using a poem with a rhyme scheme, especially something complicated like a sonnet, try to use words that have lots of easy rhymes. Examples of easily-rhymed words include "right," "sky," "ear," and "of." If you're an experienced rhymer, then go ahead and tackle challenging words!

There are different kinds of rhymes as well. Multi-syllable rhymes do what they say; several syllables are going to be rhyming; "Muttering" and "Fluttering," for example. Then there are slant rhymes, or "Eye" rhymes, which only *look* like they rhyme, but don't when spoken. The site linked above has some good definitions of other obscure rhyme variants.

There are two other aspects of rhyme that deserve noting: internal rhyme (this comes in especially handy in free verse poetry), and exact rhyme. For example,

Quote:

"Cartwheeling gourd munchers"
A monstrous mash lay seeding on the lawn,
whistling to forget it was
chiseled to smile. (Smashing, really.)

Note "whistling" and "chiseled." First of all, they're not at the end of the line, and there is no established meter in the poem. We achieved an internal rhyme here (though one might call it assonance). When you're working free of restrictions, it's still fun to integrate some of the more classic devices.

Now, some of you might glare at me for thinking "whistle" and "chisel" rhyme. You're right - to an extent. This is not an exact rhyme, due to the s/z sounds, respectively. Instead, we have an off-rhyme. For a really good example on how to blend exact and off-rhymes, go here.

No matter what you write, though, remember that rhyme is part of the parsley of your poetry. When writing in a rhyming form, never let your rhymes dictate what you say. Otherwise, your message will sound forced, and your reader won't enjoy it as much. Work with them, not against them.  

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Describing Stanzas

This works much the same as meter.

couplet - set of 2 lines
triplet/tercet - set of 3 lines
quatrain - set of 4
quintet/cinquain* - set of 5
sestet - set of 6
septet - set of 7
octet/octave - set of 8

*This actually describes a form of poetry as well, at which one of our members was quite proficient.

The Sonnet

The sonnet comes in several different forms. The most they have in common is that they have 14 lines and are almost always written in iambic pentameter.

Most English-written sonnets are written in the form of a Shakespearean, or English, sonnet. The rhyme scheme is separated into three quatrains and a couplet, which reads ABAB CDCD EFEF GG, where each letter represents a rhyming set. The other common form is that of the Petrarchan, or Italian, sonnet, which differs in its breakdown. This one is split into an octet (or two quatrains) and a sestet (or two tercets). (I'm actually not sure if there is a difference. I think it depends on which scholar you talk to. xp ) The first eight lines most commonly rhyme ABBAABBA, though same may be ABBACDDC. The tercets are more flexible and may be XYZXYZ, XYXYXY, or even XYZYXZ.

For the curious, there's also the Spenserian sonnet (ABAB BCBC CDCD EE) and several other variations. Go investigate. 3nodding

For more on the style of sonnets: http://members.aol.com/lucyhardng/pointers/form.htm#forms2

The Villanelle

One of the most famous villanelles is Dylan Thomas's "Do Not Go Gentle into That Good Night." The form is 19 lines long, in the form of ABA ABA ABA
ABA
ABA
ABA, where the same-colored lines are actually repeated.

For more info: http://www.writing-world.com/poetry/villanelle.shtml

The Pantoum

A pantoum is similar to the villanelle in that it repeats lines for effect. However, the pantoum is far looser in its restrictions. Modern pantoums need not rhyme or carry a consistent metrical pattern. The repeated lines go like this:

1234
2546
5768
7381

Pantoums can go on for as long as you want. The key thing to remember is, the second and fourth lines of a stanza become the first and third lines of the next stanza. The poem also ends with the third line of the first quatrain as the second of the last, and the first line is also the last line.

The whole objective of the pantoum is transformation - much like the sonnet. The difficulty, though, is keeping the pantoum interesting by buliding the ideas in every stanza.

The Triolet

Quote:

"Conrad Geller"
You have to write a triolet
If you would make your name immortal.
To get a form that's fit and set.
You have to write a triolet.
From free verse all you ever get
Is just another yawn or chortle.
You have to write a triolet
If you would make your name immortal.

http://www.writing-world.com/poetry/triolet.shtml

The Cinquain

Quote:

"Alan Reynolds"
LIKE POPCORN

Cinquains
pop hot and fresh:
full tubs of froth and salt
in splendid form, tasty and warm
then flat.

http://www.ahapoetry.com/cinqhmpg.htm

The Limerick

Quote:

"Morris Bishop"
The limerick is furtive and mean;
You must keep her in close quarantine,
Or she sneaks to the slums
And promptly becomes
Disorderly, drunk and obscene.

http://www.smithsonianmag.si.edu/smithsonian/issues02/sep02/limericks.html

Blank Verse/Free Verse

Free verse seems to be the one most common among contemporary poets. Basically, it's poetry without restrictions on rhyme or rhythm. It relies solely on the whim of the writer.

Blank verse, on the other hand, is rhythm without rhyme. Billy S. did a lot of blank verse in iambic pentameter.

Japanese Forms of Poetry

'll just direct you to the Gaian Japanese Poetry sticky for Angelic Muse's fine explanation on these forms.

Prose Poetry

Keembah found a useful link explaining the premise of prose-poetry.
http://pw2.netcom.com/~pprater/prosepoetry.html  

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Metaphor, Simile, and Imagery

One of the keys to good poetry is successful imagery. Sure, you can convey emotion with something like, "I cry when you're away." But how far do you really expect that to go?

Imagery is a form of comparison. It offers poets a way to transcend simple description and draw their reader deeper into the experience. It is most easily conveyed through figurative language - especially metaphor and simile.

A simile is a comparison of two objects using "like" or "as." Examples: "Her hair is like a field." "That house is as big as a whale!"

A metaphor is a direct comparison. It differs from a simile in its lack of a connecting word. Examples: "You are my sun." "All the world's a stage." (Thanks, Billy. xd )

Imagery, then, is the blend of these comparisons that are linked through a common theme. I worked with a poet here on the concept of imagery, and I'll post the before-and-after as an example.

Quote:

"cyanide erection"
Short and Sweet Suicide

Before

crying and pain
solved by one thing.
nothing more or less
then the salient blade
piercing my chest.

After

trampled and desiccated
my only hope for nourishment,
sinks in sanguinely.
a salient worm
to molded earth.

Rather than simply talk about sadness and stabbing things, she's now describing it through earthen imagery. The knife is the worm; the body the soil. It adds a new layer to the concept and thusly makes it more interesting for the reader.

Tip: When you next write a poem, take your idea, and make a list of ten possible images that you think correspond to the idea. Experiment with two or three of them to get a feel for the comparison.  

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The Poet's Dictionary

Here's a list of basic terms that are indispensable tools to any poet. Learn these! scream You can find a complete list of these terms at this Glossary of Poetic Terms (thanks to DCB for the link!).

I have isolated a few of them to get you started. 3nodding These are directly quoted from the website. I take no credit for writing them.

Accent
The rhythmically significant stress in the articulation of words, giving some syllables more relative prominence than others. In words of two or more syllables, one syllable is almost invariably stressed more strongly than the other syllables. In words of one syllable, the degree of stress normally depends on their grammatical function; nouns, verbs, and adjectives are usually given more stress than articles or prepositions. The words in a line of poetry are usually arranged so the accents occur at regular intervals, with the meter defined by the placement of the accents within the foot. Accent should not be construed as emphasis.

Enjambment
The continuation of the sense and therefore the grammatical construction beyond the end of a line of verse or the end of a couplet.

Hyperbole
A bold, deliberate overstatement, e.g., "I'd give my right arm for a piece of pizza." Not intended to be taken literally, it is used as a means of emphasizing the truth of a statement.

Perfect Rhyme
Also called true rhyme or exact rhyme, a rhyme which meets the following requirements: (1) an exact correspondence in the vowel sound and, in words ending in consonants, the sound of the final consonant, (2) a difference in the consonant sounds preceding the vowel, and (3) a similarity of accent on the rhyming syllable(s).

Personification
A type of metaphor in which distinctive human characteristics, e.g., honesty, emotion, volition, etc., are attributed to an animal, object, or idea, as "the haughty lion surveyed his realm" or "my car was happy to be washed" or "'Fate frowned on his endeavors." Personification is commonly used in allegory.  

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werewolf122

Would rap count as poetry ?. I herd it is.
Would any one tell me what type of style mine is i havent finished yet but.
His tears was like rain
That turned to ice
Running over his cold motionless face. I made it up in english class after i was gang bashed during that lunch >.<

Rap would fit in as lyrics. At least in my book so a new topic within this forum would be correct if it was rap lyrics.

Since your writing fits into a "rap style" it would fit in as lyrics.