"Poeticks: On Angst" 1 of 2
Angst. People admire and despise, protest and support, immerse in and shun, indifferently yawn, while holding very firm opinions as their respective buttons are pressed when they hear the word "angst." As a starting point of Poeticks, we have decided to take up the differing opinions from inside DeviantArt, to lay out those arguments for all of you to read. Please keep in mind that these are "your" thoughts, as they are, and you are completely free to agree or disagree. Our objective is not to push forth an ultimate commandment, but rather to present to you the many (and often times conflicting) opinions we have received from fellow DeviantArt writers, in hopes of perhaps enlightening, sublimating or organizing your perspectives on the matter; or even to entertain you. We would be extremely pleased if it would serve as a personal reference point, or if it would incite writers to question and re-debate in
"Poeticks: On Angst" 2 of 2"Poeticks: On Angst" 2 of 210 years ago in Academic Essays More Like This
5: Can angst poetry be structured?: angst and poetic forms
Because the issue of metred rhyme was mentioned above, we have decided to develop our questions out of curiosity, asking writers if they have ever come across "angst poetry" with a traditional poetic structure on deviantArt, such as an angsty sonnet, or an angsty haiku, or angsty sestina... and if they thought "angst poetry" to be fit for these poetic forms. (For a deeper understanding of definition, variation and other information concerning poetic forms visit http://poetic-forms.deviantart.com and browse through their very informative write-ups.) Though most dA writers have not, or did not recall seeing an "angst" poem (probably defined here as "unoriginal" angst poetry) within a certain structure (meaning there are, if any, very rare amounts of those lying around, at least on deviantArt), we have received convincing arguments from both sides concerning the co
"Poeticks: On Imagery" 1 of 3"Poeticks: On Imagery" 1 of 310 years ago in Academic Essays More Like This
1: This section applies to the following three deviations.
2: The screenshots have been used and manipulated with explicit written permission from their respective creators. No third party may use these screenshots without permission from poeticks and the creator, and poeticks will not give permission without first consulting the creator.
3: Footnotes have not been added due to difficulty with the formatting available on deviantArt. All referenced quotations and paraphrases have been inserted into quotation marks, and list of referenced material has been added at the end of the compilation.
4: Opinions of deviantArt writers have been left anonymous to respect the equal value of each opinion. A list of contributing deviants have been organized at the end of the deviation.
5: Interviews with individual writers have be
Handout 1 - More on ScansionMore on ScansionHandout 1 - More on Scansion8 years ago in General Non-Fiction More Like This
If scanning a line of verse is difficult for you, do not fret. As the cliché goes, practice makes perfect. In this lesson, I'll go over some of the tricks of scansion and offer some ways to more easily identify a line's meter.
Take this opening line of one of Shakespeare's most famous sonnets, titled either "Sonnet 18" or by the first line:
Shall I compare thee to a summer's day?
Your first task should be to identify polysyllabic words that can only be pronounced in one way. "Compare" and "summer's" are two such words, an iamb and a trochee, respectively:
˘ / / ˘
Shall I compare thee to a summer's day?
Saying "COMpare" or "sumMER'S" would sound awkward, as this is not how they are pronounced in normal speech. We have another hint in "a," which is part o
Lesson 2 - More MeterQUOTE OF THE DAYLesson 2 - More Meter8 years ago in General Non-Fiction More Like This
"A poet who makes use of a worse word instead of a better, because the former fits the rhyme or the measure, though it weakens the sense, is like a jeweler, who cuts a diamond into a brilliant, and diminishes the weight to make it shine more."
- Horace Walpole
While every metrical poem will have a base meter to serve as its backbone, many poets often find that writing in ten-syllable iambic sentences, for example, is too limiting for their purposes, either because pure meter doesn't provide enough variation for proper emphasis or because it quickly gets dull and tedious, or a combination of the two.
You might have noticed this limitation when you wrote your blank verse in the last lesson. Often it occurs that there is something you want to say that simply will not work in your base meter, that you have to sound like Yoda to get your words into the proper meter, or that you feel that a different foot "feels right" in a certain place. &
"Poeticks: On Imagery" 2 of 3"Poeticks: On Imagery" 2 of 310 years ago in Academic Essays More Like This
Chapter 4: Quality of imagery
4-1: Figure of Speech
We have already heard from deviantArt writers about the importance of "figure of speech" within imagery.
To make out a clearer picture of "imagery" from the writer's point of view, let us take take a closer look. You may find futilitarian's Terms and Techniques a useful guide along the way, and other online resources to complement what we are about to explore. We will not go over the whole gamut of writing techniques here for that is not the main purpose, but here, let us look at how a variety of figure of speech may be used in a single piece of poetry.
We will dissect T.S. Eliot's "The Love Song for J. Alfred Prufrock" solely from a figure-of-speech point of view. For those who have not read it, we prefer that you peruse it once through before continuing this section. http://www.bartleby.com/198/1.html
What we would like readers to note is a) how figures of speech
"Poeticks: On Imagery" 3 of 3"Poeticks: On Imagery" 3 of 310 years ago in Academic Essays More Like This
Chapter 5: Imagery and its limitations
We have discussed in previous chapters, the nature and importance of imagery in poetry, and especially from the above experiment concerning originality, we are prone to being convinced of an infinite nature in one's creative possibilities, yet by common sense, we know that we all produce different imagery, differing in style, differing in quality, differing in the words we choose and the correlations we construct.
We will now look at the reasons and forces working behind the creation of imagery, and where the limits lie, and what constraints work against the writer's creative process.
5-1: Experience and Imagination
To begin our discussion, let us ponder what effect experience (or inexperience) of a subject matter has in our creative process.
First off, we will look at the opinions of deviantArt writers vis-a-vis the question, "is it possible to create imagery outside of one's physical and/or emotional experience?"
First there are those who
Show and TellShow and TellShow and Tell8 years ago in Academic Essays More Like This
The idea behind what constitutes 'telling' is probably the most often confused by critics who are new to poetry.
The general notion of it has been around for centuries in all types of literature, but the approach to it was tightened considerably in the 1920s by those of the Modernist school of thought – most notably TE Hulme, HD and Ezra Pound who adapted many tenets of the French school of Symbolism into Imagism.
This leaves us with the current poetic climate, which shuns the idea of a pseudo-poet narrator (as favoured in lyrical poetry – Shelley's Ode to the West Wind, for example) in favour of less intrusive accounts.
The guidelines that it encourages are pretty logical, and mostly just serve to crystallize a critical paradigm present long before it was given this name. It's simply a matter of narrative viewpoint.
If I say 'The man is sad' I am intruding upon the narrative with my own opinion.
If I say 'The man is crying' then the reader makes up their own mind
Tips For the NoviceTips For the Novice10 years ago in Academic Essays More Like This
Tips For The Novice
It's an all-too common occurrence on my periodic forays into the world of internet poetry - writing weakened by a lack of fundamental knowledge concerning the essence of poetry writing. There are no rules set in stone about creative writing. The writer that strikes new trails can make a lasting impact on the world of poetry, but the chances of a writer stumbling upon golden words without a solid knowledge base are slim to none. The following tips for novice writers are intended to help shore up those fundamentals, to help the young writer breathe the essence of life into their poems, and to better share that essence with the reader.
The most important element you can inject into your poetry is imagery. Imagery is made up of sense data: color, sound, smell, temperature, the feeling of physical contact. When we remember anything with any vividness, we remember in images. When we fantasize or hallucinate, it is i
AbstractionAbstractionAbstraction8 years ago in Academic Essays More Like This
Abstract, abstraction and so on are words thrown around all the time in poetry, and often without much solid – or at least congruent – meaning.
An abstraction is literally a 'taking-away' from something, a vaguer look at a solid concept. For example, we could say that 'animal' is an abstraction from 'cow', or that 'person' is an abstraction from 'telephone repairman'.
An abstraction may also be an abstract noun, though, such as 'love', 'peace', 'death', 'fortune', etc.
Or it may be an abstract verb, such as 'eat' or 'move' or 'take'. More concrete verbs might be 'chew', 'walk' and 'grab', or might entail phrases such as 'eat with cutlery', 'move on foot' or 'take in his hand'.
The logic is that the word is a non-specific generalisation based on an observed event or series of events. All you need to know is that an abstract word is like using a generic template. Saying 'it was love' calls upon well worked, common (trite) concepts of what 'love' means. It contains noth
Metre Learning GuideSo. Metre.Metre Learning Guide8 years ago in Academic Essays More Like This
It has become a dirty word in some poetry circles.
It conjures images of withered, grey-haired men laboriously counting out beats and stresses whilst coughing up phlegm because of all the dust in their cramped and quasi-arcane libraries.
It really isn't all THAT bad, trust me.
So, without getting too 'old-man' technical - What is metre? what is it good for?
And, importantly, how does one use it?
Well, let's see if we can come up with some workable and easily understood answers by the end of this.
#1: What is metre?
Technical Language: The most well known metre, 'Accentual Syllabic Metre' is the rhythmic arrangement of syllables and patterns of stresses in a poetic line.
Translation: Metre is a poetic device that allows you to consciously orchestrate the flow of rhythm in a poem by paying attention to the natural rise and fall of the spoken word, and how to align those patterns of word-emphasis in an effective way.
#2: What is metre good for?
Basically, metre is
Lesson 1 - Basics of MeterQUOTE OF THE DAYLesson 1 - Basics of Meter8 years ago in General Non-Fiction More Like This
"Life is tons of discipline. Your first discipline is your vocabulary; then your grammar and your punctuation. Then, in your exuberance and bounding energy you say you're going to add to that. Then you add rhyme and meter. And your delight is in that power."
- Robert Frost
As Robert Frost is saying, meter and rhyme are not the most important parts of writing. They are the most intricate when creating poetry, but poems can be written without them. I began my poetry with free verse, and gradually became more and more fixed as I went on to learn more about how meter affects the poem, and how rhyme, alliteration, assonance, and the like also affect the reader's experience with a piece of poetry. And my free verse is all the better for it. Even if you never write another fixed poem after finishing this course, an intricate understanding of the rules of conventional poe
RhythmRhythm10 years ago in Academic Essays More Like This
If your poem's rhythm is bad, your poem will be bad.
That's right, I said it. Poetry without rhythm (or poor examples of it) is like a brain-bound rusty screwdriver: stimulating but never a good idea. After you've digested all of that "show don't tell" imagery bullshit, you need to pay attention to your rhythms.
Don't just read your poem, say it out loud. A poem that sounds great spoken will look great written. If you aren't confident in your abilities, work on it. Limiting yourself to syllabic structure is an excellent way to learn. Jot a few lines down, figure out some sort of syllabic structure (seven syllables / five syllables / seven syllables / five syllables / etc. etc.) and stay within that structure. This helps you learn how different words flow, and how to make the words work for you. Free-verse is an exciting concept but sitting down and proceeding to pour your thoughts out onto paper willy-nilly will make your poem suck. Poetry is no excuse to ramble. Punctuation, and to a
A Guide to Visual Poetry"Concrete poetry is poetry in which the typographical arrangement of words is as important in conveying the intended effect as the conventional elements of the poem..." ~WikipediaA Guide to Visual Poetry7 years ago in Academic Essays More Like This
Visual poetry, also known as concrete poetry, is fun to write because you have colors, textures, and words all at your power to manipulate. You've probably seen visual poetry before, where a poem is written in the shape of what it describes, like "Pyramids":
of hope through
the heat, that simple
materials in simple shapes
can stand as skyscrapers fall.
It's a start, but as a visual poet you've got way more power than this.
Font - Finally, after years of 9 pt. Arial (or whatever it is th
The LinebreakThe LinebreakThe Linebreak8 years ago in Academic Essays More Like This
A line has three points of strength: its beginning in correlation with the prior line's end, its end in correlation with the next line's beginning, and its strength as a separate unit in the narrative development.
The first two points are points of emphasis; the first word, or possibly phrase, is emphasised by its primary position. Likewise, the word or phrase at the end of the line receives emphasis. Both of these points in a line form a logical link: the ending of a line leads on to the beginning of the next, particularly if enjambed. This allows a twist in meaning to be achieved by the break. At this point things become a little vaguer, since both 'meaning' and subsequently 'twist' are difficult to pin down. The twist may come in a pun, a shift of narrative focus, a change in sonics, in voice, or simply something worth emphasising.
The third point is the strength of the line as a unit. A line should in its own way advance the narrative of a poem significantly an
Showing, Part OneShowing, Part One10 years ago in Academic Essays More Like This
If you've ever taken a class in creative writing, you've no doubt heard the teacher repeat the phrase, "Show, don't tell" over and over again. While there are few hardest rules in creative writing, this persistent little mantra might be the ultimate. Teachers and writers who write about writing spout it out all the time, but what does it mean anyway? After, isn't all writing really "telling" on some level?
It's best to view "showing" not as a single technique, but a summation of the most effective writing techniques. If we know anything about poetry, it's that the best poetry usually conjures specific and concrete images. Beyond language itself, images are the meat and bones of poetry. So goes most of prose as well. The prose writer has the added duty of creating situations and characters that seem real and believable.
Showing invites the reader into the world of out poem and story. If the reader can see, smell, taste, and feel the world through our writing, the reader is more
Active and Passive VoiceActive and Passive Voice10 years ago in Academic Essays More Like This
Active voice occurs when the subject or agent in the sentence performs the action, often towards an object. For example, let's look at the following sentence written in active voice:
Katie spilled the milk.
In this sentence, Katie is the subject, and she performs the action (spilling) on the direct object (the milk.) The most obvious way to spot active voice is through the use of active verbs, which are simply verbs that express actions. In most cases, the sentence will take on the simple form of the tense it's in, whether past, present, or future.
In passive voice, the object being acted upon is emphasized over the agent. A passive version of the previous sentence would look like this:
The milk was spilled by Katie.
In this sentence, our object (the milk) appears before the action (was spilled) and the agent (Katie.) You will also notice that this sentence is in the progressive fo
Tips On Self-PublishingTips On Self-Publishing10 years ago in Academic Essays More Like This
Tips On Self-Publishing
I recently decided to self-publish a compilation of my work. It is something that I've wanted to do for a long time, but have always put off for several reasons; the imagined cost, basic lethargy in editing the damn thing, and laziness when it came to mail-outs to publishers. If this sounds like you so far, you might be able to benefit from a few things I learned along the way. Below I will discuss almost everything you will need to know before jumping into a self-publishing project, some pitfalls to avoid, and approximately what to expect to come out of your pocket. (I'm talking about money, pervert.)
Once I decided I was definitely going forward with this project, my first step was to find publishing houses/printers that offered the services that I wanted. There are many resources for this, but I found the below link most helpful in finding presses that would actually not only turn around a quote quickly,
WinterWinter10 years ago in Traditional Fixed Forms More Like This
The old man smiles through clear blue eyes
and skies embracing fertile clouds
expectant with fractal flake children.
He doffs his hat of hazy mist
for geriatric trees, bald heads
displaying their crinkled-wood wisdom.
One hand adjusts his bare-earth tweed
to smooth the frost on collar hills
and straighten a river-ice necktie.
He wanders, smiling at his world
unfurled in tasteful winter shades
now painted on seasonal canvas.
Write Better: Read MoreWe didn't believe it, either, but you really can learn a lot from reading a book! If you've ever wanted some worthwhile advice from someone other than your high school English teacher, this is the place to look. The authors below are experts in their fields, well-respected and admired by accomplished writers from all over the world, and we're bringing you a list of their most prized and collectively-effective books. (Tried-and-tested by our worthy administrators, no less!)Write Better: Read More7 years ago in Reviews & Guides More Like This
So what're you waiting for? Learn how to make every word count!
Reading Resource List for the Aspiring Writer
Writing Reminders: Tools, Tips, and Techniques (Jim Burke)
Writing Tools: 50 Essential Strategies for Every Writer (Roy Peter Clark)
Writing without Teachers (Peter Elbow)
Writing With Power: Techniques for Mastering the Writing Process (Peter Elbow)
Editorial - ClicheEditorial - Cliche10 years ago in Editorial More Like This
Cli·ché (klee-shay) also cliche (kl-sh) n.
1.) A trite or overused expression or idea: ?Even while the phrase was degenerating to cliché in ordinary public use... scholars were giving it increasing attention? (Anthony Brandt).
2.) A person or character whose behavior is predictable or superficial: ?There is a young explorer... who turns out not to be quite the cliche expected? (John Crowley).
(source: http://www.dictionary.com/ )
It's not something pleasant to hear, or pleasant to say.
But what's to be done, when you find it one day
in a pile of mismatched lines like a stack of hay?
They aren't hard to spot, like white backgrounds
and black dots. You'll know what I mean, in
a minute or two, but cliché phrases and ideas
will be the death of you.
What does a word or phrase need to do in order to become cliché?
There is no patented test that words must go through nor a physical examinat
How to Write Villanelles Villanelles can be quite discouraging; they look simple but are actually quite difficult. However, when mastered, it becomes technically easy according to Conrad Geller. Just like riding a bike, right? The name Villanelle is derived from the Italian villa, or country house, which is where aristocrats went to refresh themselves. Strangely enough, the form is originally French and only appeared in the English language in the lat 1800s (19th century). Out of the 19 lines in a Villanelle, only two rhymes are used. Furthermore, two lines repeat throughout the poem; usually the first and last lines of the first stanza are repeated interchangeably throughout the second, third, fourth, and fifth stanzas (starting with the first line of the first stanza) until the last stanza where both are repeated in the same stanza.How to Write Villanelles6 years ago in Other More Like This
Haiku exercise for beginnersThe haiku is about one moment, an instant in life captured. Where the poem is a painting, the haiku is a photograph showing the single comparison or eccentricity that makes nature so wonderful.Haiku exercise for beginners8 years ago in Scraps More Like This
The advantage the haijin has over the photographer is that he is not restricted to showing, but can also let the reader hear and feel the image. Some haiku make comparisons from different times of the day or year, combining this into a single image. Where the photographer has a myriad of colour to work with the haiku poet can draw from a palette of, at the last count 450,000 words.
The strict form of the haiku may cause some people to baulk at them. Many beginners and young poets may well think: OMG! 5-7-5! Haiku are so hard! Well, if you subtract the five-seven-five format, and add a vivid imagination things suddenly become easier. The 5-7-5 form is not necessary to produce a haiku in a true minimalist spririt.
Minimalism dictates that you focus on one single image and allows you to make
Abject GenteelAbject Genteel11 years ago in Urban & Spoken Word More Like This
it starts off all twisted,
artistic and meek.
the sheets in a tangle, we tangoed,
in the sleek night.
our wrists chained to floarboards,
past my collarbone's palindrome,
(that sensitive hollow)
making impressions in memory foam.
onetwo, and threefour.
yes, go on-
rest your head here, and read what you wrote.
remember last night,
when that spot in my chest soared up past my throat,
and the light in your eyes
swallowed my conscience alive,
and we burned,
with the stars
and cared not to dream, but be rash: come undone.
on the bedpost.
we sang amid silence,
clutching at pillows and pretense,
feeding black scarves on my eyelids.
needing a breath-
as i sank,
through my webbed primidorial,
to the safety of bloodshed.
PalindromesPalindromes10 years ago in General Non-Fiction More Like This
Sotades invented palindromes in Greek-ruled Egypt, back in the 3rd century BC. In fact, palindromes were once known as "Sotadic verses." He was thrown into the sea (wrapped in lead) by King Ptolemy II, for insulting the king in one of his verses.
They were quite popular in the 1800's, but have not shared much popularity since around the 1930's.
Palindrome comes from the Greek words "palin" (again or back) and "dramein" (to run). So if you read that backwards, it translates loosely into "to run back."
The palindrome simply reads the same forwards and backwards, usually with a central focal point from where it begins to read backwards. There are several ways to write palindrome poems, three are presented here, along with examples.
1. It can be read backwards, with the same words, such as the example below.
by Paula Brown
Passionate always, forging forward.
Unquiet rage screams