Writing to Form

Broadly speaking, there are two ways to format a poem.

The first is to use a form. This can include structures like a short unrhymed haiku, a complex luc bat of indefinite length, or rhyming every second or fourth line.

In my own work, I would normally default to free verse, but in a recent piece, I started writing a triolet before realising that a villanelle has a similar repetitive structure, but allowed more than twice as many lines. The intent was to present as a heated argument between two people, so the repetition worked quite well.

In free verse, by contrast, the form is dictated by the poet in terms of line length, syllable count, where any rhyme is placed, &c. In my experience, this is often misunderstood by non-poets – and even some poets – as it can look like the words are simply chopped-up prose or placed at random, rather than placed there with intent.

It’s difficult to sum up in a few paragraphs how to write free verse poetry, but the best advice I can give is to chop out what you don’t absolutely need. Even when writing to form, I sometimes find it necessary to remove the unnecessary and replace the missing syllables with another thought or a stronger image.

This advice particularly comes into its own with rhyming couplets. If it works for the piece, then that’s great, but consider whether removing the couplets element might make it stronger. I have a lot of experience of hearing second lines that seem to be placed there only to rhyme with the previous line.

Style Counsel

Every so often, I find I naturally lean towards writing in a certain style. There was a long while where I was churning out poems in triolet form, then I went through a clerihew period, and a time of short free-verse work.

At the moment, I’m drawn towards producing longer and more wistful pieces, as demonstrated in last week’s entry with a video of a recent poem called The Living Ghosts. With a running time of more than two minutes, it’s the longest poem I’ve produced for some time.

Sometimes there will be a trigger for writing in a particular manner, but often there isn’t anything specific.

I find that if you have such an impetus, the best way to deal with it is to run with it. I have a spot at an open-mike on Sunday, and I want to produce something original, so I’ll be letting that wistfulness come out before it turns into another style.