Getting out of a rut

How long have you been stuck in that creative rut? You know the signs: the tendency to write the same old stuff over and over again. You can't seem to break out of the end rhyme scheme you're in. It's a never ending cycle and you can't break free from it. No matter how you try your writing keeps veering back toward that ABAB scheme. You can't think of any new theme or topic to write a poem about. You stare at a blank page and there is a nagging thought - that maybe your muse has left you and gone off to find some other poet to inspire. Writer's block! You overthink it; you contrive your lines, casting aside sense and purpose to try to force them to rhyme. It doesn't look very good at all. When you write your verse, it reads worse than ChatGPT on a bad day... boring and predictable, and full of cliches. Every poet goes through something like this at some point in their lives. Some are cursed with it forever, it seems.

Well, there are many ways to break out from this rut, so you can start to write creative, unique poetry. Here are ten cool tips to help you (if you know any others, you are welcome to add them to the comments section).

1) Keep writing. Write anything. It doesn't matter if it's garbage, Keep writing, and don't stop. Write down the first words that come into your head. Eventually, there will be a gem or two you can keep and build a poem around.

2) Keep a pad and pen, or your smartphone by your bed. If you wake in the night with an inspiration, write it down. Come back to it in the morning, and maybe there will be something your scribbled down in the dark that you can develop.

3) Ignore all the opinionated 'geniuses' out there who try to tell you what you can or can't write. They are usually pedantic hair-splitters anyway. There are no rules. You can write in any style and in any way you wish, to create your art. Don't stop because you think its nonsense, and don't listen to the poetry Nazis.

4) It doesn't need to rhyme. 

5) Try out some new formats and frames of writing. Experiment with a Pantoum or a Villanelle, or dabble with some Haiku or a freeform piece of writing. This blog is also full of ideas about how to work poetic devices into your poetry. Have a search around, and see what you can find.

6) Try writing from your stream of consciousness. Relax, close your eyes, and wait for the words or the thoughts to come to you. As they do, write them down. They may be disconnected from each other, and quite random. It doesn't matter. Write them all down. You can always edit them later...

7) Open a book at random, and with your eyes closed, point to somewhere on a page. Write about the word or phrase your finger has landed upon. 

8) Use cut-up poetry ideas - the concept of found poetry can have amazing results if you just go with the flow of what you discover. 

9) Ask someone to give you a topic or theme to write about. It can be one word, or a phrase, or a historical event or a person. Just write about whatever they have said. 

10) There are no rules. I have already said this in 3, but it's worth repeating - and this time, imagine an audience out there waiting to hear you perform that poem you're about to write. What do you want to say to them? How do you want to say it? Remember - there are no rules!

I hope these ten tips are useful to you, and help you to break out of the rut you might be in. Please add your ideas in the comments below. We would all love to read them, and try them out.

Steve Wheeler

Image used under a Creative Commons Licence by Smenglesrud

Writing Fun Poems

Sometimes it’s a necessity as a writer to change your shorts. 

Writing fun poems (long or short) presents one particular genre that can cleanse palettes often desensitized to the sweet prospects of joy in humor. They can be a welcome change of pace! 

A few poetic forms work quite well for tickling the old funny bone. Click on the term to learn the particulars about them!

Edward Lear made the limerick popular in his “Book Of Nonsense”, published in 1846. It’s a short five line poem with a most musical rhyme flow. Consider this gem:

There was an old man on a hill,

Who seldom, if ever stood still;

He ran up and down 

In his grandmothers gown 

Which adorned that old man on the hill.

Not exactly a knee slapper I know… but it WAS 1846! Limericks take all forms, including those of the vulgar varieties about men from Nantucket and other such doggerel.

Another short short would be a monostitch, which could be a line verse in a larger poem, or simply a one line poem. Something like “Literary gnomes make their homes in a poem”… okay, this may be a monostich that does not exactly leave you in stitches, but you get the point.

A kenning can be a blast to use… it is a two word per line poem that describes something without ever saying what it’s describing… a short funny kenning for a child would be something like: 

ankle biter

lamp smasher

bug thief

crazy maker

heart warmer

A clerihew is a quick four line poem created by Edmund Clerihew Bentley (1875-1956)  who was so bored in his chemistry class he scribbled this out about Sir Humphrey Davy (inventor of sodium):

Sir Humphrey Davy

Detested gravy.

He lived in the odium

Of having discovered sodium.

A clerihew’s first two lines rhyme, the last two lines rhyme, and the first line starts with a name. Simple… but most effective for a fast funny!

Consider this one by Invisible Poet Lorna McLaren:

Boris Johnson

sang his own swansong

stammering while addressing the nation afflicted with verbal constipation

Or this one by Invisible Poet Ally Smith:

E.T.

Alien to me

Trying hard to contact home

But couldn’t find a telephone 

Of course you can write anything in free verse using metaphors and funny wordplay. The “anything goes” format of free verse is perfect for the silly, absurd, or just straight out funny truth. I once wrote a love poem called “The Love Wrestler” which compared a professional wrestler to my girlfriend. It had lunatic lines like  “headlock on my heart” and “let down in another town with an imaginary name on my pants”.

These are not the ONLY fun forms to write with, but they are a great place to start. That and a clean pair of shorts. 

Matt Elmore

Image by: Unsplash

#poetry, #writing, #funpoems

Punctuation In Poetry

It’s easy to just ignore punctuation and just say it’s your style to leave it all out. I know… because I have for years! Hey… that’s just my style! 

However, as I’ve gotten older, I have found that the use of particular punctuation marks really help the reader to separate ideas, organize flow, and accentuate particular themes. 

One thing that has always got me is what the difference is between colons and semicolons. Semicolons (;) are used between two complete sentences. They simply take the place of conjunctions like and, but, so, or, nor, for, yet… and so on. Colons (:) are used at the end of a statement to introduce a list of related ideas.  So there definitely is a difference.

Commas (,) might also introduce a quagmire… yet they aren’t all that complex. They simply separate words and phrases before a conjunction (like and or but), as well as separated introductory phrases such as “Before the game, I got a hot dog”.

Dashes (-) can be used as commas- but they should be used discretely. Another matter of style there! They look just like hyphens (-) which pair compound words like merry-go-round or user-friendly.

Many of these are more geared toward writing outside of poetry, yet it is good to be aware of what you can use to elevate your writing when you are a poet.

Question marks (?) are used in poetry for dramatic effect at the end of a sentence or phrase in an interrogative (or inquiring) manner. Exclamation marks (!) also place a dramatic effect in an exclamatory way… to stress passion or urgency. Look out!

Apostrophes (‘) are used to mark possession. You put the apostrophe after a plural noun such as “students’ grades” as opposed to one “student’s grades”. They replace words as in  “Johnny’s”, meaning “Johnny is…” They can also mark contractions and quotations within quotations. 

Quotation marks (“) surround words or phrases to inform the reader of something spoken or copied, as well as to quote as unique or ironic. In poetic prose, they always go BEFORE the period.

Ellipsis (…) is a curious beast. It marks the omission of a word or words. The use of it as a pause is not really grammatically correct, though I think that the ever changing grammatical world we live in considers its use to indicate there is more to be said… especially within the texting format. I use it as a dramatic pause in my poems- it’s simply another matter of style, really.

I’ve not seen much use of parentheses () in poetry, though it can be incorporated. They are usually utilized for information that is not essential (but a good footnote) to a sentence. See how I did that?! 

Lastly, minimizing capital letters tends to annoy grammatical purists. Using capital letters is proper and I will not refute that. However, it is also a manner of style. I personally do this too. It’s bad I know. But what the hey, it worked for e.e. cummings!

These punctuation marks are more than just doodles on a keyboard! They are ammunition to use in knocking down obstructions of understanding between the poet and the reader. When you know how to properly use punctuation marks, it only increases the tools you need to get your message successfully clear and precise.

I hope this is helpful! Please feel free to add anything I may have missed, and thanks for reading!

Matt Elmore

Identifying Perspectives

Have you ever considered what would happen if you were the only person left on the planet? Although we generally like to think of ourselves as somewhat entertaining, don’t you think that would get boring after awhile?

Perhaps you have heard the term “opposites attract”… two distinctly different people being drawn to each other? What causes that magnetism… and sustains such relationships?

Our world is comprised not only of many different cultures, geographies, and societal conditions, it is also drawn together by just as many similarities. I believe that it is both these differences AND commonalities that create our poetic perspective.

To call perspective a “worldview” is to narrow it down to particular ideologies such as religion, politics, and nationality. I believe perspective calls all these into play… yet it can also draw upon tastes in art, character, and individual dignity. We are the sum of our experiences!

When applied to poetry, perspective can be debilitating, due to the poet’s particular background and way of looking at things. We have to widen our scopes as poets!

The most versatile bards are those that transcend their own personal opinions. They take on different subjects and points of view, then reconcile them with their own. In doing so, they create a unique perspective, or make a more complex statement of universal purpose.

Addressing something so simple as differing views on fashion, or even what is preferable weather, can create an enjoyable palette of variations. Getting a bit more complex, one might negotiate differentiating life goals or personal agendas, or find a common ground in conservative and liberal viewpoints. If you discover the latter,… let me know! We could all use that!

Being a poet is all about identifying perspectives. Being a next level poet involves reconciling as many perspectives as one possibly can within reason. It is in finding out the commonalities of our differences that we may make this a better world through our art… as something EVERYONE can relate to.

Matt Elmore

Image by: Unsplash

Poetic devices 16: Euphony

Euphony is the opposite to cacophony. In cacophony, harsh, jarring, dischordent sounds are made, usually to draw attention to something unpleasant or dangerous. A siren wails to warn of impending danger. A harsh cry tells us something alarming is happening. In Euphony, rhythmic and harmonious sounds are made to draw attention to something pleasant or appealing. In movies, you'll note that mellow instruments such as flutes, strings or harps dominate music that illustrates a soothing, romantic or reassuring scene. 

In poetry or prose, a combination of words or a sequence of rhythmic sounds can achieve euphony. If they enjoy the sound texture or harmony, readers are more likely to enjoy the text of the poem too. The rhythm and tempo of the words in the lines is important. So too is the rhyme, whether internal or end placed. But not all poetry has to rhyme, so consonance and assonance are also important in creating euphony. Finally, repetition or refrain can also be used to create euphony. All of these have been described in previous blog posts in this series. Just click on the blue hyperlinks in the words to read those articles. 

To Autumn, by John Keats, features many of these devices to create a great euphonic poem:

Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For summer has o'er-brimm'd their clammy cells.

Notice how Keats uses regular repetition of stressed and unstressed syllables. There is also a very soothing end rhyme scheme in play. 

One of my all time favourite poems is Do Not Go Gentle by Dylan Thomas, which is presented in the form of a very pleasing, euphonic form known as a Villanelle. Here's the final stanza:

And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.

Note that in a Villanelle, some lines naturally repeat, but it is the poet's use of soft consonants (sad, gentle, fierce) and long vowel sounds (pray, rage and good) that really gives this poem its soothing euphony. 

Previous posts in this series

1. Simile
2. Metaphor
3. Repetition and refrains
4. Alliteration
5. Assonance
6. End Rhymes
7. Internal Rhymes
8. Rhythm and Tempo
9. Enjambment

10. Allegory

11. Metonymy

12. Cacophony

13. Calligram

14. Personification

15. Paradox

Steve Wheeler

Image by Pickpik using Creative Commons

Overcoming writers' block

Today's blog post is a guest post written by one of our Invisible Poets moderators Donna Smith. It contains some great advice and encouragement for all writers about a topic with which we are all very familiar.

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I have seen a few post recently where people are having writer's block or losing inspiration. 

As writers this is something we all go through and every one of us can relate to this feeling. Our brains sometimes need a switch off. We  can't be constantly thinking of the next poem or project as we have other 'stuff' going on too. 

Therefore we shouldn't be too hard on ourselves when it happens. Here are my top tips to deal with it when it does happen.

1) Don't stress or worry when it happens. Remember it happens to us all and it's only a temporary state.

2) Do what works for you. If reading others poetry helps to re-ignite the spark, all well and good. If not and reading others brilliant pieces is making you feel worse, switch off your phone and don't engage for a while and give yourself a break. 

3) Ask for a prompt or a title. When you have the theme given to you, half the job is already done. 

4) If you do want inspiration go to Matt Elmore pinned post at the top of Invisible for all the exercises. There are loads of different themes/exercises that may set you off on a specific poem and it may be a style you've never tried before. They also lead you to the wheelsong blog which is full of useful tips to help with your writing. These exercises have helped me to come up with a few poems and some have been my best work. 

5) Re-visit your own old work and correct spelling mistakes and grammar. This way you are at least doing something constructive with your writing. You may even see that a word needs adding or a different sentence would make it better. You could even end up with a completely different poem at the end of it. 

6) Delete, tidy, organise your work. Put your work into categories, genre, etc so that if/when an opportunity arises for a competition or publication for a specific type of poem, you can quickly see what you have got in that field.

7) When you can, tune in to Live Poets Society with Steve Wheeler on Invisible Poets. UK time 8pm on Fridays and new from today 8pm on Tuesdays with Matt Elmore and Brandon Adam Haven. Listening to other people's work being read out is a massive inspiration. Sometimes just hearing a certain word can set you off on your own journey.  

8) Going to go back to number 1. Just try not to worry. Know that we have all been in the same boat at some point and we understand how you are feeling. 

If anyone else has any more tips, please feel free to add in the comments section below. Happy writing. Xx

Donna Smith

Image from pxhere used by Creative Commons licence

The Rhythmic Magic of Syllable Counting

Poetry with its rich tapestry and variety of words, have the ability to captivate and move us in very profound ways. One of the essential elements that contribute to the beauty and musicality of poetry is its rhythm. Syllable counting, a technique employed by poets across various cultures and eras, plays a vital role in creating a mesmerizing flow within a poem. I’ve been experimenting with this especially very much lately and I’ve been quite impressed with some of the rhythmic qualities and outcomes articulated. Thus in this blog we will explore the rhythmic effectiveness of syllable counting in poetry and how it enhances the overall flow, lending enchantment to the written word.

1. Establishing a Meter:

Syllable counting helps establish a meter, which is the underlying rhythmical pattern of a poem. By assigning a specific number of syllables to each line or stanza, poets create a consistent beat that guides the reader through the poem. Common meters include iambic pentameter (ten syllables per line with alternating stressed and unstressed syllables) and haiku (three lines with a 5-7-5 syllable pattern). This rhythmic structure enhances the flow and musicality of the poem.

2. Enhancing Musicality:

Syllable counting contributes to the musical quality of poetry. The deliberate arrangement of stressed and unstressed syllables creates a natural ebb and flow, resembling the rise and fall of musical notes. When younger I used to be gripped by the melodies crafted into many of the works of Robert Burns. Syllable counting is a very alluring reason why I was captivated and inspired at an early age to poetry itself. This rhythmic interplay adds a melodic quality to the poem, engaging the reader's senses and creating a captivating auditory experience.

3. Controlling Pacing and Emphasis:

Syllable counting allows poets to control the pacing and emphasis within a poem. By varying the syllable count, poets can create a faster or slower tempo, influencing the reader's reading speed and breath. Shorter lines with fewer syllables may quicken the pace, while longer lines with more syllables can slow it down. This manipulation of rhythm adds depth and nuance to the poem, guiding the reader's emotional journey.

4. Achieving Poetic Balance:

Syllable counting helps achieve balance within a poem. By adhering to a specific syllable count, poets ensure that each line or stanza receives equal attention and contributes to the overall harmony of the composition. This balance aids in creating a sense of completeness and unity, allowing the poem to resonate with the reader on a profound level.

5. Enhancing Visual Aesthetics:

Syllable counting can also enhance the visual aesthetics of a poem. I have been finding this out more and more lately with my own compositions. Masterful poets often arrange their lines on the page in a deliberate manner, creating visual patterns that complement the rhythmic structure. The symmetrical placement of lines or the alignment of syllables can add to the overall beauty and impact of the poem, engaging the reader's visual senses alongside the auditory experience.

Syllable counting is a powerful technique that contributes to the rhythmic effectiveness and flow of poetry. By establishing a meter, enhancing musicality, controlling pacing and emphasis, achieving poetic balance, and enhancing visual aesthetics, syllable counting adds a layer of enchantment to the written word. Whether adhering to established poetic forms or experimenting with unique syllable patterns, poets can harness the magic of rhythm to create poems that resonate deeply with their readers. So, let the syllables dance and the words sing, for in the realm of poetry, the rhythmic flow holds the key to unlocking the beauty of language and I encourage everyone interested to give this handy technique a try. 

By: Brandon Adam Haven 

Photo by: Brandon Adam Haven 

Why are you here?

Several people have recently voiced their disappointment at not being noticed on Invisible Poets poetry group. 

This is quite ironic. We are Invisible Poets and we can be invisible. Most poets usually are! When I originally named this group I did so because it has become a universal rite of passage for just about every poet I have ever known. You start off in obscurity and continue that way until either someone with some clout notices you, or you begin to gain some acknowledgement from your peers. And for many, that never happens. You remain invisible. 

So we all have to ask ourselves the question: why are we here? Why do we join poetry groups, and why do we share our poems on Facebook groups, if very few people ever acknowledge, like or comment on our work? To answer that question, perhaps we should all ask ourselves an even more fundamental question: why do we write poetry?

Your answer to that question will be different to mine. We are all unique individuals and our motivation will be just as varied as our personalities. But deep down inside, I think that most of us write poetry because it is an outlet for our ability to infuse words with emotion and meaning. I know that when I write poetry, it is often because I have an idea or a thought that I want to crystallise in words. Sharing it with others is a secondary thing. I have many poets that not even my closest friends or family have ever seen. Perhaps they never will. Such poems are from the deepest recesses of my heart and mind, and perhaps it's better that they were never seen or read by anyone else. 

But when I share a poem (and many of my best ones are never shared!) on a Facebook group, my anticipation is that I will get some feedback from my peers, even if it is a simple 'like'. When this doesn't happen, it can be soul destroying, especially for those individuals who might be a little fragile at the time. Does feedback really matter? For many it really does. 

Perhaps feedback, acknowledgement, recognition is vital for you. So, when it doesn't happen for whatever reason, how do you cope? What is your strategy?  Do you go off into a dark corner and curse, weep and moan? Or do you pick yourself up and go and write a better poem? 

If you're simply posting poetry because you want to express yourself and aren't too bothered whether others read your work or not, then stop reading now.

For those who crave a little more attention for their poetry, here's something to ponder: 

On Facebook one of the main reasons people may not notice your poetry is because they haven't see it. It doesn't appear on their timeline as they scroll through posts. This is usually because you haven't engaged much with other people's posts. Facebook algorithms are designed to encourage social interaction. The more you comment and like other people's poetry, the more likely they are to see you posts coming up in their timelines. 

So next time you feel ignored on a Facebook poetry group, think about commenting on, and liking a few other people's posts. If you regularly do this and build up connections with others in the group, you'll soon begin to see them offering you comments and likes on your posts too.

Steve Wheeler

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