Showing posts with label Poetry Lesson. Show all posts
Showing posts with label Poetry Lesson. Show all posts

Monday, April 9, 2012

TIPS FOR WRITING POETRY


     In honor of National Poetry Month, I'd like to offer 10 tips for writing poetry. This list grows out of my personal experiences as a poet and as a teacher. All poets struggle to create a clear picture in their reader's mind. I hope this list is helpful to you and your students. 

1.     Don’t be chained to rhyme. Rhymes drastically reduce word choices and can send poems in nonsensical directions. Think about what you really want to say in your poem and if you can’t say it with rhymes, ditch them.

2.     Embrace alliteration. The repetition of a beginning sound can reinforce the mood or subject of your poem and create a musical quality, akin to rhyme. For example, my poem “Olympic Skater,” uses a number of words beginning with an “s” sound. http://www.jacquelinejules.com/skater.htm

3.     Use everyday experiences. Anything can be a powerful topic. One day I found a missing blue sock and wrote a poem called, “Finding a Sock.” http://www.imitationfruit.com/Issue_7/finding_sock/finding_sock.html

4.     Juxtapose. Linking unlike things or experiences can be powerful in a poem. Gliding down the slopes one day, I remembered how klutzy I used to be in middle school gym. It inspired a poem called “Graceless Girl Skis Down Slope.”  http://www.csmonitor.com/2004/1223/p18s02-hfpo.html

5.     Examine your endings. I’ve had more than one poem accepted on the condition that I kill the last two lines. While my initial reaction is always horror, I usually come around and see that the poem stands alone without an ending that hits my reader over the head with a fry pan.

6.     The internet has pictures. When I am trying to describe something, I often do a search on Google images. Staring at a photograph can help you paint a picture with words.   

7.     Don’t forget the other senses. How does it smell, taste, touch, and sound? While sight may be a dominant sense, particularly in our video driven society, adding other sensory details will enrich your work.

8.     Lists are good. Providing details, particularly in groups of three, gives your reader a stronger image. In my poem, “Daddy and Venice,” I remember a ride through the Grand Canal in Venice with “velvet seats, a Persian rug, and a singing gondolier.”  http://www.imitationfruit.com/Issue_6/daddy_venice/venice.html

9.     Rearrange the lines. Sometimes a line works better on the top than in the middle. And don’t be afraid to cut off the top if you have created a stronger beginning.

10.   Economize. Poetry is all about economy of language. Cross-examine each word and be sure it’s needed and evokes a strong enough image for your reader.

http://www.jacquelinejules.com/

Monday, November 28, 2011

AMAZING ALLITERATION

by Laura Krauss Melmed 

This is the first in a series of planned posts on poetic devices.  I’ll start with alliteration, the repetition of the same sounds or of the same kinds of sounds at the beginning of words or in stressed syllables.  Of the various poetic devices, or purposeful ways of using sounds and words, alliteration is probably the easiest and most fun for children to understand and experiment with.

It’s easy to find examples of alliteration that kids will relate to.  A Wikipedia article on alliteration points out that the names of many book characters are alliterative.  In the Harry Potter books, for example, the four wizards that founded Hogwarts were Godric Gryffindor, Helga Hufflepuff, Rowena Ravenclaw, and Salazar Slytherin.  Among the professors are Severus Snape, Minerva McGonnagall, and Filius Flitwick, while the students include Luna Lovegood, Cho Chang and Moaning Myrtle.  Other literary examples abound: how about Willy Wonka, Peter Pan, Tweedledee and Tweedledum, and Tiny Tim?  Cartoon characters across different studios include Mickey and Minnie Mouse, Donald, Daisy and Daffy Duck, Porky Pig and SpongeBob Squarepants.  Sports teams often “sport” alliterative names such as the Buffalo Bills and the Pittsburgh Pirates.  And authors sometimes use alliteration for book titles, the way I did in Moishe’s Miracle; Hurry! Hurry! Have You Heard? and The Marvelous Market on Mermaid.   Start by offering examples such as these to your students and then have them come up with others. 

Why is the use of alliteration so common?  Alliteration is fun.  It trips off the tongue, or sometimes trips it up, as in “Peter Piper picked a peck of pickled peppers.”  Poets use alliteration to enhance the sound and sense of what they’re saying.  In the opening lines of my picture book, Jumbo’s Lullaby, I used repetitive, soft, “sh” “f” and “l” sounds to express Mama Elephant’s tone as she tries to lull her restless baby to sleep:

Susha, susha, Mama’s darling,
Stars are twinkling up high,
flickering like little fishes
in the river of the sky.
In their midst the moon is floating
Glowing with a gentle light,
like a pearly water lily
that has blossomed in the night.
Susha, susha, little Jumbo,
Mama’s love will hold you tight.

In Valerie Worth’s poem “Snake” from Animal Poems, the poet summons her subject’s sinuous slither with sibilant sounds:

Spilled to
A liquid
Silt, a
Slurry of scales..

while in Monday’s Troll, Jack Prelutsky bloviating, bragging blowhard of an ogre describes himself as follows: I’m Bellow the ogre/I bluster and boast…

Prelutsky also uses alliteration to conjure up a week’s worth of truculent trolls:

…Friday’s troll is great and grimy
Saturday’s is short and slimy—
But Sunday’s troll is crabby, cross
And full of sour applesauce.

Other examples abound for the quoting.  After students get the hang of it, ask them to come up with a zany or funny alliterative sentences of their own, the more outrageous the better, which they can then write out and illustrate on large sheets of paper.  Astute students are assured of finding this an amusing avenue for activating alliteration!


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