Tip #1 Know Your Goal.
If you don’t know where you’re going, how can you get there?
You need to know what you are trying to accomplish before you begin any project. Writing a poem is no exception.
Before you begin, ask yourself what you want your poem to “do.” Do
you want your poem to describe an event in your life, protest a social
injustice, or describe the beauty of nature? Once your know the goal of
your poem, you can conform your writing to that goal. Take each main
element in your poem and make it serve the main purpose of the poem.
Tip #2 Avoid Clichés
Stephen Minot definesa
cliché as: “A metaphor or simile that
has become so familiar from overuse that the vehicle … no longer
contributes any meaning whatever to the tenor. It provides neither the
vividness of a fresh metaphor nor the strength of a single unmodified
word….The word is also used to describe overused but nonmetaphorical
expressions such as ‘tried and true’ and ‘each and every'” (
Three Genres: The Writing of Poetry, Fiction and Drama, 405).
Cliché also describes other overused literary elements.
“Familiar plot patterns and stock characters are clichés on a big scale”
(Minot 148). Clichés can be overused themes, character types, or plots.
For example, the “Lone Ranger” cowboy is a cliché because it has been
used so many times that people no longer find it original.
A work full of clichés is like a plate of old food: unappetizing.
Clichés work against original communication. People value creative
talent. They want to see work that rises above the norm. When they see a
work without clichés, they know the writer has worked his or her tail
off, doing whatever it takes to be original. When they see a work full
to the brim with clichés, they feel that the writer is not showing them
anything above the ordinary. (In case you hadn’t noticed, this paragraph
is chock full of clichés… I’ll bet you were bored to tears.)
Clichés dull meaning. Because clichéd writing sounds so familiar,
people can complete finish whole lines without even reading them. If
they don’t bother to read your poem, they certainly won’t stop to think
about it. If they do not stop to think about your poem, they will never
encounter the deeper meanings that mark the work of an accomplished
poet.
Examples of Clichés:
- busy as a bee
- tired as a dog
- working my fingers to bone
- beet red
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- on the horns of a dilemma
- blind as a bat
- eats like a horse
- eats like a bird
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How to Improve a Cliché
I will take the cliché “as busy as a bee” and show how you can express the same idea without cliché.
- Determine what the clichéd phrase is trying to say.
In this case, I can see that “busy as a bee” is a way to describe the state of being busy.
- Think of an original way to describe what the cliché is trying to describe.
For this cliché, I started by thinking about busyness. I asked myself
the question, “What things are associated with being busy?” I came up
with: college, my friend Jessica, corporation bosses, old ladies making
quilts and canning goods, and a computer, fiddlers fiddling. From this
list, I selected a thing that is not as often used in association with
busyness: violins.
- Create a phrase using the non-clichéd way of description.
I took my object associated with busyness and turned it into a phrase:
“I feel like a bow fiddling an Irish reel.” This phrase communicates the
idea of “busyness” much better than the worn-out, familiar cliché. The
reader’s mind can picture the insane fury of the bow on the violin, and
know that the poet is talking about a very frenzied sort of busyness. In
fact, those readers who know what an Irish reel sounds like may even
get a laugh out of this fresh way to describe “busyness.”
Try it! Take a cliché and use these steps to improve it. You may even
end up with a line you feel is good enough to put in a poem!
Tip #3 Avoid Sentimentality.
Sentimentality is “dominated by a blunt appeal to the emotions of
pity and love …. Popular subjects are puppies, grandparents, and young
lovers” (Minot 416). “When readers have the feeling that emotions like
rage or indignation have been pushed artificially for their own sake,
they will not take the poem seriously” (132).
Minot says that the problem with sentimentality is that it detracts
from the literary quality of your work (416). If your poetry is mushy or
teary-eyed, your readers may openly rebel against your effort to invoke
emotional response in them. If that happens, they will stop thinking
about the issues you want to raise, and will instead spend their energy
trying to control their own gag reflex.
Tip #4 Use Images.
“BE A PAINTER IN WORDS,” says UWEC English professor emerita, poet,
and songwriter Peg Lauber. She says poetry should stimulate six senses:
- sight
- hearing
- smell
- touch
- taste
- kinesiology (motion)
Examples.
- “Sunlight varnishes magnolia branches crimson” (sight)
- “Vacuum cleaner’s whir and hum startles my ferret” (hearing)
- “Penguins lumber to their nests” (kinesiology)
Lauber advises her students to produce fresh, striking images (“imaginative”). Be a camera.
Make the reader be there with the poet/speaker/narrator. (See also: “
Show, Don’t (Just) Tell“)
Tip #5 Use Metaphor and Simile.
Use metaphor and simile to bring imagery and concrete words into your writing.
Metaphor
A metaphor is a statement that pretends one thing is really something else:
Example: “The lead singer is an elusive salamander.”
This phrase does not mean that the lead singer is literally a
salamander. Rather, it takes an abstract characteristic of a salamander
(elusiveness) and projects it onto the person. By using metaphor to
describe the lead singer, the poet creates a much more vivid picture of
him/her than if the poet had simply said “The lead singer’s voice is
hard to pick out.”
Simile
A simile is a statement where you say one object is similar to another object. Similes use the words “like” or “as.”
Example: “He was curious as a caterpillar” or “He was curious, like a caterpillar”
This phrase takes one quality of a caterpillar and projects it onto a
person. It is an easy way to attach concrete images to feelings and
character traits that might usually be described with abstract words.
Note: A simile is not automatically any more or less “poetic” than a
metaphor. You don’t suddenly produce better poems if you replace all
your similes with metaphors, or vice versa. The point to remember is
that comparison, inference, and suggestion are all important tools of
poetry; similes and metaphors are tools that will help in those areas.
Tip #6 Use Concrete Words Instead of Abstract Words.
Concrete words describe things that people experience with their senses.
A person can see orange, feel warm, or hear a cat.
Poets use concrete words help the reader get a “picture” of what the
poem is talking about. When the reader has a “picture” of what the poem
is talking about, he/she can better understand what the poet is talking
about.
Abstract words refer to concepts or feelings.
“Liberty” is a concept, “happy” is a feeling, and no one can agree on whether “love” is a feeling, a concept or an action.
A person can’t see, touch, or taste any of these things. As a result,
when used in poetry, these words might simply fly over the reader’s
head, without triggering any sensory response. Further, “liberty,”
“happy,” and “love” can mean different things to different people.
Therefore, if the poet uses such a word, the reader may take a different
meaning from it than the poet intended.
Change Abstract Words Into Concrete Words
To avoid problems caused by using abstract words, use concrete words.
Example: “She felt happy.”
This line uses the abstract word “happy.” To improve this line,
change the abstract word to a concrete image. One way to achieve this is
to think of an object or a scene that evokes feelings of happiness to
represent the happy feeling.
Improvement: “Her smile spread like red tint on ripening tomatoes.”
This line uses two concrete images: a smile and a ripening tomato.
Describing the smile shows the reader something about happiness, rather
than simply coming right out and naming the emotion. Also, the symbolism
of the tomato further reinforces the happy feelings. Red is frequently
associated with love; ripening is a positive natrual process; food is
further associated with being satisfied.
Prof. Jerz belabors Kara’s point:Extension: Now, let’s do something with this image.
She sulked in the garden, reticent...hard;
Unwilling to face his kisses -- or unable.
One autumn morn she felt her sour face
Ripen to a helpless smile, tomato-red.
Her parted lips whispered, "Hello, sunshine!"
OK, the image has gotten embarrassingly obvious now, but you can see
how the introduction of the tomato permits us to make many additional
connections. While Kara’s original example simply reported a static
emotional state — “She felt happy,” the image of the ripening tomato,
which Kara introduced as a simple simile to describe a smile, has grown
into something much more complex. Regardless of what the word “tomato”
invoked in your mind, an abstraction like “happy” can never stretch itself out to become a whole poem, without relying on concrete images. –DGJ |
Tip #7 Communicate Theme.
Poetry always has a theme. Theme is not just a topic, but an idea with an opinion.
Theme = Idea + Opinion
Topic: “The Vietnam War”
This is not a theme. It is only a subject. It is just an event. There
are no ideas, opinions, or statements about life or of wisdom contained
in this sentence
Theme: “History shows that despite our claims to be
peace-loving, unfortunately each person secretly dreams of gaining glory
through conflict.”
This is a theme. It is not just an event, but a statement about an event. It shows what the poet
thinks about the event. The poet strives to show the reader his/her theme during the entire poem, making use of literary techniques.
Tip #8 Subvert the Ordinary.
Poets’ strength is the
ability to see what other people see everyday in a new way.
You don’t have to be special or a literary genius to write good
poems–all you have to do is take an ordinary object, place, person, or
idea, and come up with a new perception of it.
Example: People ride the bus everyday.
Poets’ Interpretation: A poet looks at the people on
the bus and imagines scenes from their lives. A poet sees a sixty-year
old woman and imagines a grandmother who runs marathons. A poet sees a
two-year old boy and imagines him painting with ruby nail polish on the
toilet seat, and his mother struggling to not respond in anger.
Take the ordinary and turn it on its head. (The word “subvert” literally means “turn upside down”.)
Tip #9 Rhyme with Extreme Caution.
Rhyme and meter (the pattern of stressed and unstressed words) can be
dangerous if used the wrong way. Remember sing-song nursery rhymes? If
you choose a rhyme scheme that makes your poem sound sing-song, it will
detract from the quality of your poem.
I recommend that
beginning poets stick to free verse.
It is hard enough to compose a poem without dealing with the
intricacies of rhyme and meter. (Note: see Jerz’s response to this
point, in “
Poetry Is For the Ear.”)
If you feel ready to create a rhymed poem, refer to chapters 6-10 of Stephen Minot’s book
Three Genres: The Writing of Poetry, Fiction, and Drama. 6
th ed., for more help.
Tip #10 Revise, Revise, Revise.
The first completed draft of your poem is only the beginning. Poets
often go through several drafts of a poem before considering the work
“done.”
To revise:
- Put your poem away for a few days, and then come back to it. When
you re-read it, does anything seem confusing? Hard to follow? Do you see
anything that needs improvement that you overlooked the first time?
Often, when you are in the act of writing, you may leave out important
details because you are so familiar with the topic. Re-reading a poem
helps you to see it from the “outsider’s perspective” of a reader.
- Show your poem to others and ask for criticism. Don’t be content
with a response like, “That’s a nice poem.” You won’t learn anything
from that kind of response. Instead, find people who will tell you
specific things you need to improve in your poem.
