Okay, you did ask… Just keep telling yourself that as you read. 🤣
First: “You are” contracts to “you’re,” not “your.”
That aside, several things to take into account:
First, rhyming is NOT the goal of structured poetry. So never, never, never bend the line to the needs of the rhyme. Instead, the rhyming words should be the perfect ones for the thought being expressed, and the rhyme should seem almost accidental.
My favorite example of this is the lyric to the song, "The Twelfth of Never," released in 1957. Look at the opening verse:
- - - - -
You ask how much I need you, must I explain?
I need you, oh my darling, like roses need rain.
You ask how long I'll love you; I'll tell you true:
Until the twelfth of never, I'll still be loving you.
- - - - -
Notice the clever trick played on the reader: The protagonist is replying to a question that the reader supposedly asked, placing that reader INTO the poem, as the beloved who has asked that question. And since the question is one we might ask of someone who loves us, the answer is inherently interesting (especially since, if it’s a good answer we might use it…right?).
So with “You ask,”, and without realizing why, the reader had become emotionally involved. To me, that’s brilliant writing.
Next, the line requests to know as how long their will commitment last, then dismisses it as supposedly obvious. Yet it’s a critical question, so the seeming disconnect again draws the reader in, with the unspoken comment of, "Well yes, you absolutely must tell me, because I need to know." So, given the attitude placed into the reader with that thought, we WANT to hear the response, and it feels as if it's directed at us. And that is a HUGE hook.
The response is 100% allegorical. It says, in effect, “I can’t live without you,” but does it in a pretty, and interesting way.
The question/answer sequence then continues with a clever twist, Love will end, but on a date that’s an impossibility.
It’s 100% emotion-based writing. It calls up context that already exists in the reader/listener’s mind. But even had the reader never heard the expression “like roses need rain,” it would be instantly meaningful.
It’s part of a song, but this first verse, for me, is a perfect example of emotion-based poetry.
Make sense?
- - - - - - -
Next: Always be certain that the story in your mind made it to the page in a meaningful way, so the reader has context. Look at some lines as the reader must:
• Little Sara, you're a diamond in the rough
You say it, but give no support to the idea. But saying it doesn’t make it so, and the reader doesn't know why the speaker feels that way. So, since you're, nominally, talking TO this person, might it not be nice to list at least one quality that brings that feeling?
• And I'm sure that why you think you're not enough
This line would have to be based on this person deciding, based on evidence, that Sara doesn’t think herself worthy. But at this point, we know nothing about her—not age, situation, or even a single piece of evidence. Yes, you begin to list things, but the reader needs context as-they-read, or the words are meaningless. And we can’t retroactively remove confusion.
In may ways, poetry is fiction, and we’re presenting a situation. So always be certain that the words will be meaningful to a reader who lacks both your intent, and, the backstory that led to the writing.
• And your brain can only think about the waiting loaded gun.
The speaker isn’t certain of why Sara feels unworthy, but knows she’s suicidal? How can a reader follow that logic? If this person knows her mind enough to know she's suicidal, she also knows why she feels as she does.
So…writing poetry is a lot harder than you thought…right? But that, while true, is okay, because we ALL start out writing things that make us shake our heads, later. It's a process called learning, and so, no big deal.
The thing is, writing is a learned skill. Sure, the pros make it look easy, but as Mark Twain put it: “It ain’t what you don’t know that gets you into trouble. It’s what you know for sure that just ain’t so.”
And since your classwork hasn't even touched on the skills of fiction and poetry, like everyone else your age, you have a whole lot of “just ain’t so” floating around in your head. And THAT’S fixable. In fact, I think you’ll find the fixing fun.
So…two “assignments.” One of them is informative, the other fun.
Take a read of the excerpt, on Amazon, of Stephen Fry’s, The Ode Less Traveled. It will tell you amazing things about the way we use language, and how you can make your own use more exciting. He’s focused on structured poetry, but what he says is of interest to all writers.
Next, head to Shmoop to read, “The Cremation of Sam Mcgee.” It will show you how, by using the techniques Mr. Fry talks about, you can get the reader tapping their feet and falling into the rhythm of the piece.
You can copy/paste the address into the URL window at the top of the screen and hit Return to get there without having to search.
https://www.shmoop.com/cremation-sam-mcgee/poem-text.html
The poem is over 100 years old, but still has the power to pull the reader in, and bring a smile at the ending.
And when you finish, turn the pages and read the analysis of why it works a well as it did. Shmoop is a good place to learn more about the tricks of writing poetry.
And finally, a thought or three:
It’s easy to become discouraged, when reading something like this…especially given that this is the second time. But don’t. You’re serious about wanting to write, and looking for ways to improve. And you've demonstrated the perseverance needed to stay with a project. That’s surprisingly rare. Most people are unable to divorce self from writing, and except that the comments are on the piece as it is on that day, not a personal criticism of the writer.
Something important to keep in mind. In many ways, it’s not what was said about the piece that matters, because that’s the view of the one who commented. And unless that person is selling their work in noteworthy numbers, there may be a lot of, “This is how I would do it,” in the comment.
What always matters, though, is that the writing didn’t capture and hold the reader’s attention at the point where the comment was made. The fact that they were able to stop reading (or were kicked out of the story) at that point is critical, because they shouldn’t have been able to stop. Right? So…if you can figure out why they were knocked out, and fix that…
For example, an art critic might comment that there is a problem on the right side of the painting, and talk about what’s there. But the artist, in response, might place a single bird, plus a cloud, on the left side, which brings balance, and praise from the critic.
It’s your story.
Hope this helps.
Posted 3 Years Ago
1 of 1 people found this review constructive.
3 Years Ago
This did help a lot. Thank you so much. You were absolutely correct in the last review that there ar.. read moreThis did help a lot. Thank you so much. You were absolutely correct in the last review that there are just some things that my teachers are not going to teach me. I showed my teacher this poem and she said everything is fine. That was not what I wanted, I wanted her to help me in the departments that I was lacking and that is what you are doing. So, again, I am very thankful you have taken the time to review my writing to help me be the best writer I can be.
3 Years Ago
👍
It never gets easier. But with work and study, we can become confused on a higher level,.. read more👍
It never gets easier. But with work and study, we can become confused on a higher level, and tip the crap to gold ratio toward gold.
And always keep in mind the words of, Wilson Mizner: “If you steal from one author, it’s plagiarism; if you steal from two, it’s research.”😆
Now it's 6:23, and there on there knees
begging "Jesus please, can you make her breathe?"
Because they finally see what was happening
Underneath their nose and underneath your sleeves
WOW!! This is powerful and ever so emotional. you express yourself so well
Few people want to see us dear poet.
"Now it's 6:23, and there on there knees
begging "Jesus please, can you make her breathe?"
Because they finally see what was happening
Underneath their nose and underneath your sleeves"
I loved the complete poem and the above lines. Bled the truth. Thank you for sharing the amazing and powerful words.
Coyote
Okay, you did ask… Just keep telling yourself that as you read. 🤣
First: “You are” contracts to “you’re,” not “your.”
That aside, several things to take into account:
First, rhyming is NOT the goal of structured poetry. So never, never, never bend the line to the needs of the rhyme. Instead, the rhyming words should be the perfect ones for the thought being expressed, and the rhyme should seem almost accidental.
My favorite example of this is the lyric to the song, "The Twelfth of Never," released in 1957. Look at the opening verse:
- - - - -
You ask how much I need you, must I explain?
I need you, oh my darling, like roses need rain.
You ask how long I'll love you; I'll tell you true:
Until the twelfth of never, I'll still be loving you.
- - - - -
Notice the clever trick played on the reader: The protagonist is replying to a question that the reader supposedly asked, placing that reader INTO the poem, as the beloved who has asked that question. And since the question is one we might ask of someone who loves us, the answer is inherently interesting (especially since, if it’s a good answer we might use it…right?).
So with “You ask,”, and without realizing why, the reader had become emotionally involved. To me, that’s brilliant writing.
Next, the line requests to know as how long their will commitment last, then dismisses it as supposedly obvious. Yet it’s a critical question, so the seeming disconnect again draws the reader in, with the unspoken comment of, "Well yes, you absolutely must tell me, because I need to know." So, given the attitude placed into the reader with that thought, we WANT to hear the response, and it feels as if it's directed at us. And that is a HUGE hook.
The response is 100% allegorical. It says, in effect, “I can’t live without you,” but does it in a pretty, and interesting way.
The question/answer sequence then continues with a clever twist, Love will end, but on a date that’s an impossibility.
It’s 100% emotion-based writing. It calls up context that already exists in the reader/listener’s mind. But even had the reader never heard the expression “like roses need rain,” it would be instantly meaningful.
It’s part of a song, but this first verse, for me, is a perfect example of emotion-based poetry.
Make sense?
- - - - - - -
Next: Always be certain that the story in your mind made it to the page in a meaningful way, so the reader has context. Look at some lines as the reader must:
• Little Sara, you're a diamond in the rough
You say it, but give no support to the idea. But saying it doesn’t make it so, and the reader doesn't know why the speaker feels that way. So, since you're, nominally, talking TO this person, might it not be nice to list at least one quality that brings that feeling?
• And I'm sure that why you think you're not enough
This line would have to be based on this person deciding, based on evidence, that Sara doesn’t think herself worthy. But at this point, we know nothing about her—not age, situation, or even a single piece of evidence. Yes, you begin to list things, but the reader needs context as-they-read, or the words are meaningless. And we can’t retroactively remove confusion.
In may ways, poetry is fiction, and we’re presenting a situation. So always be certain that the words will be meaningful to a reader who lacks both your intent, and, the backstory that led to the writing.
• And your brain can only think about the waiting loaded gun.
The speaker isn’t certain of why Sara feels unworthy, but knows she’s suicidal? How can a reader follow that logic? If this person knows her mind enough to know she's suicidal, she also knows why she feels as she does.
So…writing poetry is a lot harder than you thought…right? But that, while true, is okay, because we ALL start out writing things that make us shake our heads, later. It's a process called learning, and so, no big deal.
The thing is, writing is a learned skill. Sure, the pros make it look easy, but as Mark Twain put it: “It ain’t what you don’t know that gets you into trouble. It’s what you know for sure that just ain’t so.”
And since your classwork hasn't even touched on the skills of fiction and poetry, like everyone else your age, you have a whole lot of “just ain’t so” floating around in your head. And THAT’S fixable. In fact, I think you’ll find the fixing fun.
So…two “assignments.” One of them is informative, the other fun.
Take a read of the excerpt, on Amazon, of Stephen Fry’s, The Ode Less Traveled. It will tell you amazing things about the way we use language, and how you can make your own use more exciting. He’s focused on structured poetry, but what he says is of interest to all writers.
Next, head to Shmoop to read, “The Cremation of Sam Mcgee.” It will show you how, by using the techniques Mr. Fry talks about, you can get the reader tapping their feet and falling into the rhythm of the piece.
You can copy/paste the address into the URL window at the top of the screen and hit Return to get there without having to search.
https://www.shmoop.com/cremation-sam-mcgee/poem-text.html
The poem is over 100 years old, but still has the power to pull the reader in, and bring a smile at the ending.
And when you finish, turn the pages and read the analysis of why it works a well as it did. Shmoop is a good place to learn more about the tricks of writing poetry.
And finally, a thought or three:
It’s easy to become discouraged, when reading something like this…especially given that this is the second time. But don’t. You’re serious about wanting to write, and looking for ways to improve. And you've demonstrated the perseverance needed to stay with a project. That’s surprisingly rare. Most people are unable to divorce self from writing, and except that the comments are on the piece as it is on that day, not a personal criticism of the writer.
Something important to keep in mind. In many ways, it’s not what was said about the piece that matters, because that’s the view of the one who commented. And unless that person is selling their work in noteworthy numbers, there may be a lot of, “This is how I would do it,” in the comment.
What always matters, though, is that the writing didn’t capture and hold the reader’s attention at the point where the comment was made. The fact that they were able to stop reading (or were kicked out of the story) at that point is critical, because they shouldn’t have been able to stop. Right? So…if you can figure out why they were knocked out, and fix that…
For example, an art critic might comment that there is a problem on the right side of the painting, and talk about what’s there. But the artist, in response, might place a single bird, plus a cloud, on the left side, which brings balance, and praise from the critic.
It’s your story.
Hope this helps.
Posted 3 Years Ago
1 of 1 people found this review constructive.
3 Years Ago
This did help a lot. Thank you so much. You were absolutely correct in the last review that there ar.. read moreThis did help a lot. Thank you so much. You were absolutely correct in the last review that there are just some things that my teachers are not going to teach me. I showed my teacher this poem and she said everything is fine. That was not what I wanted, I wanted her to help me in the departments that I was lacking and that is what you are doing. So, again, I am very thankful you have taken the time to review my writing to help me be the best writer I can be.
3 Years Ago
👍
It never gets easier. But with work and study, we can become confused on a higher level,.. read more👍
It never gets easier. But with work and study, we can become confused on a higher level, and tip the crap to gold ratio toward gold.
And always keep in mind the words of, Wilson Mizner: “If you steal from one author, it’s plagiarism; if you steal from two, it’s research.”😆