creative writing extend the poem by adding your own stanza

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How to Write a Poem: In 7 Practical Steps with Examples

Learn how to write a poem through seven easy to follow steps that will guide you through writing completed poem. Ignite a passion for poetry!

This article is a practical guide for writing a poem, and the purpose is to help you write a poem! By completing the seven steps below, you will create the first draft of a simple poem. You can go on to refine your poetry in any way you like. The important thing is that you’ve got a poem under your belt.

At the bottom of the post, I’ll provide more resources on writing poetry. I encourage you to explore different forms and structures and continue writing poetry on your own. Hopefully, writing a poem will spark, in you, a passion for creative writing and language.

Let’s get started with writing a poem in seven simple steps:

Brainstorm & Free-write
Develop a theme
Create an extended metaphor
Add figurative language
Plan your structure
Write your first draft
Read, re-read & edit

Now we’ll go into each step in-depth. And, if your feeling up to it, you can plan and write your poem as we go.

Step 1: Brainstorm and Free-write

Find what you want to write about

Before you begin writing, you need to choose a subject to write about. For our purposes, you’ll want to select a specific topic. Later, you’ll be drawing a comparison between this subject and something else.

When choosing a subject, you’ll want to write about something you feel passionately about. Your topic can be something you love, like a person, place, or thing. A subject can also be something you struggle with . Don’t get bogged down by all the options; pick something. Poets have written about topics like:

And of course… cats

Once you have your subject in mind, you’re going to begin freewriting about that subject. Let’s say you picked your pet iguana as your subject. Get out a sheet of paper or open a word processor. Start writing everything that comes to mind about that subject. You could write about your iguana’s name, the color of their skin, the texture of their scales, how they make you feel, a metaphor that comes to mind. Nothing is off-limits.

Write anything that comes to mind about your subject. Keep writing until you’ve entirely exhausted everything you have to say about the subject. Or, set a timer for several minutes and write until it goes off. Don’t worry about things like spelling, grammar, form, or structure. For now, you want to get all your thoughts down on paper.

ACTION STEPS:

Grab a scratch paper, or open a word processor
Pick a subject- something you’re passionate about
Write everything that comes to mind about your topic without editing or structuring your writing
Make sure this free-writing is uninterrupted
Optional- set a timer and write continuously for 5 or 10 minutes about your subject

Step 2: Develop a Theme

What lesson do you want to teach?

Poetry often has a theme or a message the poet would like to convey to the reader. Developing a theme will give your writing purpose and focus your effort. Look back at your freewriting and see if a theme, or lesson, has developed naturally, one that you can refine.

Maybe, in writing about your iguana, you noticed that you talked about your love for animals and the need to preserve the environment. Or, perhaps you talk about how to care for a reptile pet. Your theme does not need to be groundbreaking. A theme only needs to be a message that you would like to convey.

Now, what is your theme? Finish the following statement:

The lesson I want to teach my readers about (your subject) is ______

Ex. I want to teach my readers that spring days are lovely and best enjoyed with loving companions or family.

Read over the product of your free-writing exercise.
Brainstorm a lesson you would like to teach readers about your subject.
Decide on one thing that is essential for your reader to know about your topic.
Finish the sentence stem above.

Step 3: Create an (extended) Metaphor

Compare your subject to another, unlike thing.

To write this poem, you will compare your subject to something it, seemingly, has nothing in common with. When you directly compare two, unlike things, you’re using a form of figurative language called a metaphor. But, we’re going to take this metaphor and extend it over one or two stanzas- Stanzas are like paragraphs, a block of text in a poem- Doing this will create an extended metaphor.

Using a metaphor will reinforce your theme by making your poem memorable for your reader. Keep that in mind when you’re choosing the thing you’d like to compare your subject to. Suppose your topic is pet iguanas, and your theme is that they make fantastic pets. In that case, you’ll want to compare iguanas to something positive. Maybe you compare them to sunshine or a calm lake. This metaphor does the work or conveying your poem’s central message.

Identify something that is, seemingly, unlike your subject that you’ll use to compare.
On a piece of paper, make two lists or a Venn diagram.
Write down all the ways that you’re subject and the thing you’ll compare it to are alike.
Also, write down all the ways they are unalike.
Try and make both lists as comprehensive as possible.

Step 4: Add more Figurative Language

Make your writing sound poetic.

how to write poetry: figurative language

Figurative language is a blanket term that describes several techniques used to impart meaning through words. Figurative language is usually colorful and evocative. We’ve talked about one form of figurative language already- metaphor and extended metaphor. But, here are a few others you can choose from.

This list is, by no means, a comprehensive one. There are many other forms of figurative language for you to research. I’ll link a resource at the bottom of this page.

Five types of figurative language:

Ex. Frank was as giddy as a schoolgirl to find a twenty-dollar bill in his pocket.
Frank’s car engine whined with exhaustion as he drove up the hill.
Frank was so hungry he could eat an entire horse.
Nearing the age of eighty-five, Frank felt as old as Methuselah.
Frank fretted as he frantically searched his forlorn apartment for a missing Ficus tree.

There are many other types of figurative language, but those are a few common ones. Pick two of the five I’ve listed to include in your poem. Use more if you like, but you only need two for your current poem.

Choose two of the types of figurative language listed above
Brainstorm ways they can fit into a poem
Create example sentences for the two forms of figurative language you chose

Step 5: Plan your Structure

How do you want your poem to sound and look?

If you want to start quickly, then you can choose to write a free-verse poem. Free verse poems are poems that have no rhyme scheme, meter, or structure. In a free verse poem, you’re free to write unrestricted. If you’d like to explore free verse poetry, you can read my article on how to write a prose poem, which is a type of free verse poem.

Step 6: Write Your Poem

Combine your figurative language, extended metaphor, and structure.

Poetry is always unique to the writer. And, when it comes to poetry, the “rules” are flexible. In 1965 a young poet named Aram Saroyan wrote a poem called lighght. It goes like this-

That’s it. Saroyan was paid $750 for his poem. You may or may not believe that’s poetry, but a lot of people accept it as just that. My point is, write the poem that comes to you. I won’t give you a strict set of guidelines to follow when creating your poetry. But, here are a few things to consider that might help guide you:

Compare your subject to something else by creating an extended metaphor
Try to relate a theme or a simple lesson for your reader
Use at least two of the figurative language techniques from above
Create a meter or rhyme scheme (if you’re up to it)
Write at least two stanzas and use a line break

Still, need some help? Here are two well-known poems that are classic examples of an extended metaphor. Read over them, determine what two, unlike things, are being compared, and for what purpose? What theme is the poet trying to convey? What techniques can you steal? (it’s the sincerest form of flattery)

“Hope” is a thing with feathers by Emily Dickenson.

“The Rose that Grew From Concrete” by Tupac Shakur.

Write the first draft of your poem.
Don’t stress. Just get the poem on paper.

Step 7: Read, Re-read, Edit

Read your poem, and edit for clarity and focus .

When you’re finished, read over your poem. Do this out loud to get a feel for the poem’s rhythm. Have a friend or peer read your poem, edit for grammar and spelling. You can also stretch grammar rules, but do it with a purpose.

You can also ask your editor what they think the theme is to determine if you’ve communicated it well enough.

Now you can rewrite your poem. And, remember, all writing is rewriting. This editing process will longer than it did to write your first draft.

Re-read your poem out loud.
Find a trusted friend to read over your poem.
Be open to critique, new ideas, and unique perspectives.
Edit for mistakes or style.

Use this image on your blog, Google classroom, or Canvas page by right-clicking for the embed code. Look for this </> symbol to embed the image on your page.

Continued reading on Poetry

creative writing extend the poem by adding your own stanza

A Poetry Handbook

“With passion, wit, and good common sense, the celebrated poet Mary Oliver tells of the basic ways a poem is built—meter and rhyme, form and diction, sound and sense. She talks of iambs and trochees, couplets and sonnets, and how and why this should matter to anyone writing or reading poetry.”

Masterclass.com- Poetry 101: What is Meter?

Poetry Foundation- You Call That Poetry?!

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Creative Writing: Poetry: Stanza & Rhyme

Introduction
Lineation & Syntax
Rhetoric & Mode
Meter & Prosody
Stanza & Rhyme
Analysis, Criticism & Reference

A group of three or more lines, usually with a fixed rhyme scheme, which is repeated more than once. Stanzas are used additively, unlike a one-time pattern of rhymed lines such as the sonnet, which is complete in fourteen lines (Kinzie, 1999).

The agreement of two metrically accented syllables and their terminal consonants. Rhymes can be either subtle (overshadowed by syntax) or definite (Kinzie, 1999).

Resources for Stanza & Rhyme

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Next: Analysis, Criticism & Reference >>
Last Updated: Jul 6, 2022 2:22 PM
URL: https://libguides.library.kent.edu/c.php?g=278016

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How to Write a Poem - Poetry Techniques 2

Poetry techniques - expressing the invisible, poetry techniques - meaning and form, poetry techniques - writing and rewriting.

Are there words that don't seem quite right for what they're describing? Are there words that don't serve a purpose? If you can remove something without hurting the poem, it's usually a good idea to remove it.
Is there anything there that doesn't feel genuine, that's only there because it seems "poetic," to impress the reader? Remove or replace anything that is just "showing off."
Are there parts of the poem that you like better than others? Are there parts you should delete? Are there parts that don't quite fit, that should be cut out or integrated better? Is there a particularly interesting part that might suggest taking the poem in a new direction?

Poetry techniques - keep reading

Click here for "Poetry Techniques - Lines and Stanza."
Click here for "Poetry Techniques - Meter."
Click here for "Poetry Techniques - Rhyme."
Click here for a list of CWN poetry pages

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How To Write A Poem: Comprehensive Guide For Beginners

Tips on how to write a poem.

Ever wondered how to write a poem but felt overwhelmed by where to start?

Crafting a compelling poem often begins with identifying a poignant moment or stirring emotion that resonates.

This guide will walk you through the basics, from choosing your subject to refining your verses, ensuring that poetry doesn’t have to be perplexing for beginners.

Dive in – poetic expression awaits!

Key Takeaways

Start by picking a topic that touches your heart, then play with words and sounds to express it.
Use literary devices like similes and metaphors to add depth to your poem.
Try different forms like sonnets or free verse to find what best suits your message.
Edit your work by reading aloud and changing words for the strongest impact.
Join a writing community , seek mentorship from published poets , and keep practicing .

Understanding the elements of poetry.

Before diving into the creative current of poetry, it’s essential to grasp its foundational elements — these are the building blocks that give your verses structure and depth.

From the subtle dance of assonance to the precise architecture of stanzas, each aspect works in harmony to transform a mere string of words into an evocative literary masterpiece.

Sound in poetry

They use sounds to support their themes and messages.

Rhymes give poems a catchy beat and can make them fun to say out loud. Learning about syllables helps you see patterns in stress and rhythm.

Mastering rhyme boosts your creativity everywhere – not just in writing poems!

Sound devices are your secret tools for making each poem unique and powerful .

Use them wisely to create special effects that stick with the reader long after they’ve finished reading.

Moving beyond sound, we find that rhythm truly breathes life into a poem. It creates a beat, much like the heartbeat of your piece.

Picture rhythm as the drum you tap to while reading your poem out loud—it shapes how fast or slow, smooth or choppy the words flow from one line to another.

Think of stressed and unstressed syllables as the building blocks of rhythm; they help you decide where emphasis falls in each line.

Rhythm can stir emotions and reinforce your message. Use it skillfully to make readers feel the excitement, calmness, or tension with every verse they read.

Consider how sometimes repeating certain sounds at regular intervals can add power to an idea or emotion you want to express.

Mastering this musical element will set your poetry apart, turning simple words into an experience that resonates deeply with those who hear them .

Rhythm sets the beat, but rhyme brings harmony to your poem. A good rhyme can make your lines sing.

Think of it as a pattern where sounds match at the end of each line or in the middle.

These matching sounds are part of what’s called a “ rhyme scheme .” Poets craft these schemes to give their work structure and flow.

You don’t need every line to rhyme, but when they do, it creates melody and rhythm that stick with readers long after they’ve read your poem.

Explore different types of rhymes, like slant rhymes or eye rhymes , to add variety.

Use rhyme scheme wisely – it guides listeners through your poetry, making each verse memorable. Sound matters in poetry; let’s use it well!

Literary devices

Literary devices are like secret tools poets use to make their writing stand out. Think of them as spices in cooking—they add flavor and depth.

Poets sprinkle these devices throughout their work to stir up emotions and thoughts in the reader’s mind.

For example, similes compare two things using “like” or “as,” making images more vivid.

Metaphors do a similar job but without the comparison words, creating solid connections directly.

Analogies extend those comparisons even further, often across several lines or an entire poem, building complex relationships between ideas.

Sound devices like alliteration repeat consonant sounds at the beginning of words close together—it can make a line hum!

Personification gives human traits to non-human things; it makes everything feel alive and relatable.

Using these literary tools well takes practice. Begin by playing with them in your writing exercises—see how they change your poem’s sound when read out loud or alter its meaning line by line.

Let’s dive into how you can start your journey step-by-step by choosing a topic for your poem next!

Just as literary devices add depth to your words, form gives shape to your poem.

Many types of poetry have specific structures , like a sonnet with its 14 lines and strict rhyme scheme.

Choose a free verse that flows without set rules. Each form comes with its rhythm and flow.

Trying out different poetic forms can be an exciting way to find the one that resonates with you.

Explore traditional forms such as haikus or limericks if you’re looking for clear rules to guide you.

For more freedom, consider a free verse where line breaks and stanza divisions are up to you.

The important thing is how the structure reflects what you want to say—whether it’s controlling pace through quatrains or building intensity with couplets.

Whatever form catches your eye, give it a shot! Experimenting is part of discovering your unique voice in poetry .

How to Write a Poem, Step-by-Step

Diving into the world of poetry can be exhilarating yet intimidating, but with a solid step-by-step approach, crafting your verses becomes an attainable adventure.

This section is where creativity meets methodology; it’s about transforming that spark of inspiration into lines that resonate and stir emotions — let’s get those words flowing!

Choosing a topic

Picking a subject for your poem is like choosing the heart of your message. Look for ideas that stir your emotions, things you feel deeply about.

This connection makes your words more powerful and can touch others, too. Use images and experiences from life to bring richness to the theme.

Brainstorming helps you explore different angles of the topic before starting your poem. Jot down single words, phrases, or even feelings related to the idea.

These notes will be valuable in crafting lines that resonate with readers later on.

Think about what kind of poem celebrates or reflects upon these thoughts—this sets the tone for writing something significant.

Consideration of form

Poems come in shapes and sizes. Some are long; others are just a few words.

There’s free verse , which doesn’t follow rules, and then there’s sonnets with 14 lines that often tell about love.

Haikus from Japan have three lines with a pattern of 5, 7, and 5 syllables.

Think about the form before you start writing your poem. Want to share a story? Try a ballad ! They’re like songs telling tales.

Or pick cinquains if you want something short but mighty – they’ve got five lines that paint a vivid picture.

Make sure your choice suits the mood and message of your poem – it helps bring your words to life!

Word exploration

Pick each word carefully, like choosing a color for a painting. Think about how they sound and feel. Some words can make your poem soft or loud, fast or slow.

Play with language to find the perfect match for your ideas.

Look at different words until you find ones that fit just right. Try synonyms to see if they add something new to your lines.

Use strong verbs to give power to what you write and paint clear pictures in the reader’s mind.

Word choice is critical – it can turn a simple message into something beautiful and full of life!

Writing process

Let your ideas flow onto the page without worrying about perfection. Start with brainstorming and free-writing in prose to get your thoughts out.

This technique helps tap into emotions and can spark creativity for your poem. Try to include feelings and consider using nature as an inspiration source.

Once you’ve got a bunch of ideas, shape them into a first draft of your poem. Don’t fret over misspelled words or misplaced commas; write something down!

Exploring different words, rhythms, and rhymes will refine your vision. As you write, pause often to feel the beat of each line —this is where rhythm comes alive.

After finishing this step, you’ll be ready to edit your poem —a crucial part that polishes rough edges and tightens up language.

Now, let’s move on to reshaping with editing .

Once your poem is on paper, it’s time to fine-tune it. Dive into the editing process with fresh eyes and a sharp mind.

Look for lines that could be clearer or stronger. Swap out any weak words for ones that pack more punch.

Listen to how each line sounds; cut out extra words that drag down your rhythm.

Editing is about polishing your work until it shines. Read your poem aloud—does anything sound off? Fix those spots!

Changes might include cutting lines, adding imagery, or playing with the order of words.

Even minor tweaks can make a big difference in how your poem flows and feels to readers.

Keep shaping and refining because every edit gets you closer to a poem you’ll be proud to share!

Different Approaches and Philosophies for Writing Poetry

Exploring the vast landscape of poetry can be as diverse as the poets who pen it—each with a unique approach to uncovering the heart’s musings.

Whether you’re capturing fleeting emotions or painting with words in a stream-of-consciousness style, your philosophy shapes every stanza; it’s about finding that resonance within and letting it ripple through your verses.

Emotion-driven

Poems can make hearts race or bring tears to the eyes. They reach deep into feelings, sometimes in ways that stories and songs cannot touch.

The secret? Poets pour their own emotions onto the page.

When you try your hand at writing poetry with emotion , let your heart lead. Think about what stirs you up inside—joy, anger, sadness—and write it down.

Use words like a painter uses colors; mix and match till they feel just right. You don’t need fancy tricks or rigid rules to convey raw emotions .

If a line of your poem makes you laugh or cry when you read it back, chances are it will move someone else, too.

Poetry isn’t just about form and technique—it’s also writing from the soul for an audience of one or many .

Let each word take its reader on a journey through sensations, guiding them to taste, smell, see, and feel everything you pour into your lines.

Stream of consciousness

Stream of consciousness lets you capture every twist and turn of your thoughts.

This style can feel like a wild river of ideas , jumping from one to another without strict rules. Think of it as a direct line from your brain to the page.

Your readers get to ride the rapids of emotions and images just as they come. This powerful technique is not just for stories or novels; poets use it, too.

It can add depth to your poetry by showing how feelings and thoughts connect in real time. Don’t worry about making perfect sense at first.

Let your mind wander and spill those raw, unedited thoughts onto paper. Use specific words that pop into your head—no matter how strange or disconnected they may seem.

Feel free to mix memories, hopes, fears, and dreams all in one poem. Permit yourself to break traditional poetic structures with this method!

Mindfulness

Mindfulness brings a special touch to poetry writing . As you focus on the present moment , each word flows with purpose and intention.

It’s like using poetry to capture snapshots of life’s experiences.

Whether observing the rustle of leaves or the rush of emotions, mindfulness in writing helps explore personal insights deeply.

Writing mindfully also offers peace and clarity for both the poet and the reader.

A poem becomes more than just words; it transforms into a journey through sights, sounds, and sensations .

Embracing this practice enriches your craft as every line reflects a clear, tranquil state of being.

Use mindfulness to write poetry that speaks from the soul —simple yet profound.

Poem as a camera lens

Shifting our focus from mindfulness, let’s explore how a poem can act like a camera lens.

Just as a lens captures fleeting moments , poetry seizes emotions and ideas in words. A poet’s job is to observe closely and snap verbal pictures of life.

They might zoom in on a single emotion or pan out to catch the sweep of an experience.

Like photographers choose their frame and focus, poets pick every word with care.

They play with light and shadow through poetic devices to bring depth to their work—every stanza crafted for impact, just as photographers compose each shot for maximum effect.

Poets use literary devices skillfully, making sure imagery jumps off the page ; it’s all about creating that vivid picture readers will carry with them long after they’ve finished reading your poem.

Tips for Furthering Your Poetry Writing Journey

As you embark on the path to poetic prowess, delving deeper into your craft through a range of enriching strategies can transform the way you think about and create poetry—discover more, write with passion, and see where your words can take you.

Publishing in literary journals

Getting your poetry published in literary journals is a big step for any poet. Start by exploring different magazines and websites to find the right fit for your work.

Look at what they publish and read their submission guidelines carefully. Please pay attention to whether they want poems about specific topics or themes.

Send your best work to these places after you revise, revise, revise! Please make sure each word in your poem matters before you share it with editors.

They see a lot of submissions, so give them something unique that stands out from the rest.

Remember, rejection is part of the process . Keep trying even if you get no’s at first.

Every poet starts somewhere, and many famous writers faced rejection too before their poems saw print.

Keep writing, keep revising, and stay persistent in sending out your poetry – publication could be just around the corner!

Assembling and publishing a manuscript

Pulling together a poetry manuscript takes time and attention. You’ll want your poems to fit well together, like telling a story or taking readers on a journey through your thoughts and emotions.

Once you’ve selected the poems, arrange them in an order that flows smoothly. Think about how each poem interacts with the next.

Publishing your collection is the next exciting step. Start by researching publishers who are interested in the type of poetry you write.

Make sure to follow their submission guidelines carefully—this can make or break your chance of getting published.

Self-publishing is also an option if you want more control over the process. It lets you design, market, and sell your book on your terms.

Use social media platforms like Instagram to share snippets of your work and grow an audience for it.

Joining a writing community

Now that you’ve put together your manuscript consider taking the next step by joining a writing community .

This move will connect you with other poets who are eager to share their experiences and writing pieces.

Together, you can give and receive feedback , making each poem stronger and more vibrant.

Becoming part of a poetry group offers more than just critiques; it’s a chance to find your tribe .

You’ll be inspired by different styles and techniques that can broaden your poetic horizon.

A community provides support as you voice your work aloud, helping to build confidence in your craft.

Plus, learning from seasoned poets can propel your journey forward as they share insights only gained through practice and dedication.

Seeking guidance from published poets

Talking to published poets opens doors you didn’t know existed. They’ve walked the path and can share shortcuts and pitfalls.

Picture a mentor shedding light on the mysteries of poetry—this could be that poet for you. Their experience is like a treasure map to better writing .

Join a workshop or reach out online , but get their insights! Learn how they craft words into emotion and thought .

Listen closely as they talk about rhythm, sound, and the dance of verses on paper.

Their advice might make your following poem something people want to read again and again.

Continuously practicing and refining your craft.

Keep writing and revising your poem to get better. This will sharpen your skills and help you grow as a poet.

Use every chance to play with words, rhythms, and forms . Try out new styles and tones in your poems.

Share your work with others, too. You’ll learn from their feedback. Join a group where poets talk about writing together.

This is a great way to improve. Always look for ways to write more muscular lines and express ideas more clearly.

Don’t just write; read lots of poetry ! Seeing how different poets use language can open up new ways for you to write a good poem, too.

Learning doesn’t stop, so keep exploring the vast world of poetry with an open mind and heart.

Concluding Thoughts on How To Write A Poem

Now, you’ve got the basics to start your poem! Remember, poems come from your heart.

Share your story , feelings, or ideas in a way that’s true to you . Writing poetry is a journey — one where each word can paint a picture or sing a song.

Write, share, and, most of all, enjoy the magic of creating something only you can make . Your voice matters ; let it shine through your poetry!

FAQs About How To Write A Poem

1. how do i start writing a poem if i’ve never written one before.

To start your poem, let your emotions and ideas lead the way. Read a lot of poetry to find inspiration—listen to music, think about people in your life, or try capturing abstract imagery in words. Just grab a pen and express yourself!

2. What should I do after I write my first draft?

After you write your poem, take a break then read it again. Revise your poem by looking for parts you can improve—maybe make lines rhyme or change the rhythm. Keep tweaking it until it feels just right.

3. Do all poems have to rhyme?

Nope, poetry doesn’t always require rhyming! Poems often use rhythmic patterns or poetic elements without sticking to rules like rhymes—it’s more important that you convey feelings or images as you see fit.

4. Can anyone learn how to write poetry?

Absolutely! Anyone can learn how to write poems with some practice and guidance. Know that writing tips are just starting points—you’re creating art that reflects who you are, so trust your unique voice!

5. How can I get better at writing poems?

To improve at writing poetry—and enjoy poetry even more—join a writing group where you can share and discuss poetry together; also write regularly and don’t be afraid of rewriting parts until they shine!

6. Should I try publishing my poem once it’s done?

Yes—if sharing is what you want! when ready, research places that publish poems like magazines or online platforms; send them out there for others to appreciate the beauty of what you’ve created.

References:

https://www.matrix.edu.au/beginners-guide-poetry/ultimate-list-of-poetic-techniques
https://poemanalysis.com/poetry-explained/elements-of-poetry
https://blog.shurley.com/blog/2018/11/14/poetry-exploring-sound-devices-with-couplets
https://literacyideas.com/elements-of-poetry
https://writers.com/how-to-write-a-poem-step-by-step
https://study.com/academy/lesson/elements-of-poetry-rhymes-sounds.html
https://blog.daisie.com/understanding-rhyme-a-comprehensive-guide

r. A. bentinck

Bentinck is a bestselling author in Caribbean and Latin American Poetry, he is a multifaceted individual who excels as both an artist and educator.

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How to Write a Romantic Poem for a Girl: A Simple Step-by-Step Guide

6.2 The Poem

You may have encountered poetry in a variety of forms. Although free verse, where the line breaks do not follow any particular pattern, is the most common in contemporary poetry, there are many additional types of poem. One is the sonnet , a rhyming pattern of four-line stanzas with a two-line couplet to finish. Typically, sonnets are written in iambic pentameter : stressed and unstressed syllables following each other in a pattern. From Japan, we have the seventeen-syllable, three-line haiku , often employed to describe a moment in nature. Experimental Canadian poets have even written entire books out of “found” material (other texts that have been adapted by the poet), or, in the case of Christian Bök’s Eunoia , a book divided into chapters in which only one of the vowels is used.

The villanelle is an old poetry form that is popular with contemporary poets. Originating in France, the poem has five stanzas of three lines each, finishing with a four-line stanza. The first and third lines of the first stanza are repeated in each following stanza and used to make up the last two lines of the final stanza.

Beginning poets typically wait for inspiration to begin writing. Poetry is seen as something that describes a special moment, and how can one write about a special moment in an everyday mood?

Although this is one way of looking at poetry, it isn’t always helpful when you’re in the classroom and you’ve been asked to write. You probably don’t feel very inspired!

Thinking about different forms your poem could take, different subjects you could write about that are important to you, or simply freewriting a poem and seeing where it goes can be helpful in getting you started. For instructions on freewriting, review Chapter 2.3 Freewriting .

If you want to write more poetry, simply writing as much of it as you can, in whatever circumstances, is useful practice—as it is with every form of writing.

Review Questions

Try an acrostic poem. Select a word meaningful to you. Your name is a classic, but there are many other words you could use, including ones describing values or other things you find important. Write the word in capital letters down the left-hand side of your piece of paper, one letter per line. Use each letter to start a line of poetry related to your word.
Try making a found poem from a text (or texts) you find. Nisga’a poet Jordan Abel, for example, searched old Western novels for mentions of the word “Injun,” which became the basis for his third book of the same name. Don’t forget that your found text could be a set of instructions, an official letter—anything with words.
Write a poem explaining “Where I’m From.” Each line begins “I’m from” and contains a detail or phrase. (Hint: For ways to make your writing come alive, review Chapter 3.1 Descriptive Paragraphs , which gives you lists of words relating to the five senses and explains how to show, not tell, readers about your subject.)

Points to Consider

You don’t need to stop with one poem. Your poem can be a jumping-off point for other poems or for other forms of creative writing, such as a short story or piece of creative nonfiction. For ideas of what to write next after “Where I’m From,” for example, see George Ella Lyon’s web page on “Where I’m From” .
Try rewriting one of your poems in a different format. Can you turn your acrostic poem into a haiku? Are there two phrases in your found poem you can use in a villanelle?
Find a poem you really like. Study it, and then write a poem of your own. (Hint: To credit your source, write “inspired by,” the poem’s title, and the poet’s name at the top, just under your poem’s title.)
Trade poems with a classmate. Use the peer review process described in Chapter 7.2 Peer Review to give each other feedback. Revise your poem based on the feedback you received. Do substantial revisions first. As a last step, proofread.

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Stanza Definition

What is a stanza? Here’s a quick and simple definition:

A stanza is a group of lines form a smaller unit within a poem. A single stanza is usually set apart from other lines or stanza within a poem by a double line break or a change in indentation.

Some additional key details about stanzas:

Stanzas provide poets with a way of visually grouping together the ideas in a poem, and of putting space between separate ideas or parts of a poem. Stanzas also help break the poem down into smaller units that are easy to read and understand.
Stanzas aren't always separated by line breaks. Especially in older or longer poems, stanzas may be differentiated from one another according to where the meter or rhyme scheme change.
Because stanzas are the basic unit of poetry, they are often compared to paragraphs in prose.

How to Pronounce Stanza

Here's how to pronounce stanza: stan -zuh

Stanzas, Meter, and Rhyme Scheme

Stanzas can have any meter or rhyme scheme , or none at all. However, that way that stanzas work are different in formal verse that has meter and rhyme scheme and free verse that does not.

Stanzas in Formal Verse

In formal verse —that is, poetry with a strict meter and rhyme scheme—a stanza may contain multiple meters and different rhymes. For example, some stanzas alternate between iambic pentameter and iambic tetrameter. However, the general rule about stanzas in formal verse is that their form recurs from stanza to stanza—the words are different in each stanza, but the general metrical pattern and rhyme scheme are usually the same in each stanza.

Here's an example. In this two-stanza poem by Emily Dickinson, the first stanza alternates lines of iambic tetrameter (eight syllables) with lines of iambic trimeter (six syllables), and the rhyme scheme is A B C B . Since this is formal verse, the second stanza should be expected to repeat the same pattern (the same meter and rhyme scheme, but using different rhymes), which it does.

You left me – Sire – two Legacies – A Legacy of Love A Heavenly Father would suffice Had He the offer of – You left me Boundaries of Pain – Capacious as the Sea – Between Eternity and Time – Your Consciousness – and me –

Stanzas in Free Verse

In free verse —or, poetry without meter or rhyme scheme—the stanza is a unit that is defined by meaning or pacing, rather than by meter or rhyme. In other words, a stanza break may be used in free verse to create a pause in the poem, or to signal a shift in the poem's focus. In free verse, unlike in formal verse, stanzas are often irregular throughout the poem, so a poem may contain a dozen two-line couplets shuffled in with a handful of six-line sestets and one much longer stanza.

Here's an example of the use of stanza breaks in free verse—an excerpt from the poem "A Sharply Worded Silence" by Louise Glück—which consists of a four-line quatrain , followed by a single line, followed by a three-line tercet . Notice how the stanza breaks serve to break the poem into units of speech or thought—much like paragraphs in prose .

Because it is the nature of garden paths to be circular, each night, after my wanderings, I would find myself at my front door, staring at it, barely able to make out, in darkness, the glittering knob. It was, she said, a great discovery, albeit my real life. But certain nights, she said, the moon was barely visible through the clouds and the music never started. A night of pure discouragement. And still the next night I would begin again, and often all would be well.

Types of Stanzaic Form

For the most part, stanzas are named according to the number of lines they contain.

Couplet: A stanza made up of two lines. The simplest and most basic unit of poetry in English is the rhyming couplet.
Tercet: A stanza made up of three lines. Also called a tristich. Forms of poetry that are based on the tercet include villanelles and terza rima .
Quatrain: A stanza made up of four lines. The unit of many traditional forms of poetry, such as ballads and sestinas .
Cinquain: A stanza made up of five lines. Also called a quintain. Some poems, such as the Japanese tanka and the American cinquain, consist of a single five-line stanza.
Sestet: A stanza made up of six lines. Also called a sestain. Sestets appear primarily in sonnets .

Other Types of Stanzas

There are other types of stanzas that are not simply defined by their number of lines. These specialized types of stanzas are defined by specific rhyme scheme or metrical requirements, or they always appear in specific poetic forms. Here are just a few of the more common types of stanzas that are defined by rhyme scheme or meter.

Ballad Stanza: A type of four-line stanza common in English poetry. It is generally written in common meter with an ABCB rhyme scheme.
Octave: This is an eight-line stanza in iambic pentameter, usually with an ABBA ABBA rhyme scheme. It is of particular importance to sonnets, though it also appears in other forms.
Elegiac couplet: One of the more common forms in ancient Greek and Latin verse, elegiac couplets are defined by their meter: alternating dactylic hexameter and pentameter. Elegiac couplets are scarcely used by poets writing in English.
Envoi: An envoi is a brief concluding stanza at the end of a poem that summarizes the preceding poem or serves as its dedication. This type of stanza is defined not by its length, meter, or rhyme scheme, but rather by its content and its position at the end of the poem. Envois appear most often in the poetic form called the ballade .
Stand-alone lines: Used almost exclusively in free verse, single-line stanzas are seldom be referred to as stanzas, but should be acknowledged as constituting a unit of poetry in and of themselves when preceded and followed by double line breaks.

Breaking Down and Adding Up Stanzas

Stanzas consisting of four or more lines may sometimes be described as containing shorter stanzas within them, even if there is no stanza break. For example, the first two lines of a quatrain may be referred to as a couplet, even if they do not form their own stanza. This can make it easier, when speaking or writing about a poem, to break larger pieces down into units that are shorter than stanzas but longer than individual lines.

The same is true of grouping multiple stanzas together. Two distinct quatrains may be described as making up a single octave, as is often the case with sonnets —the two quatrains that begin a sonnet are, together, referred to as the octave. Similarly, the two halves of an octave can always also be referred to as quatrains. What this means is that while stanzas are usually set off from other stanzas by lines breaks or indentation, that isn't always the case. For instance, fourteen-line sonnets often appear without any stanza breaks at all—and yet the first eight lines of the poem are still referred to as the octave.

In some cases, a stanza can be broken down multiple ways. For example, a stanza that is a sestet may be described as consisting of two tercets, even though there may not be a stanza break between the two tercets to distinguish them. On the other hand, a sestet may also be described as consisting of three couplets. Neither would be improper, but which one you choose may be informed by a few separate factors. A sestet with the rhyme scheme ABCABC would more likely be described as consisting of two tercets than three couplets, since it would be more natural to break the stanza up into two units with a rhyme scheme of ABC than to break it into three units with rhyme schemes of AB, CA, and BC. A sestet with an ABABAB rhyme scheme, on the other hand, would more properly be described as consisting of three couplets, since such a stanza could be thought of as breaking down into three units with rhyme schemes of AB.

Stanza vs. Strophe

"Strophe," like "stanza," is a term that refers to a grouping of lines in poetry. In some cases it can be used interchangeably with "stanza," while in others it can't:

When line groupings are inconsistent : "Strophe" is used specifically in the context of poetry that does not use stanzas of consistent length throughout the poem, as is the case with many poems written in free verse . In such cases the term "strophe" can be used interchangeable with "stanza" to refer to any grouping of lines as a unit.
When line groupings are consistent : When line groupings are either consistent (when all of the stanzas in a poem are four-line quatrains, for instance) or when the line-groupings follow traditional rules (as in the octave and sextet of a sonnet), the word strophe cannot be used. In those cases, "stanza" is always used to refer to such line groupings.

To put it another way: all strophes are stanzas, but not all stanzas are strophes.

Stanza Examples

Couplets in max ritvo's "boy goes to war".

Here's a contemporary example of the use of couplets in a work of free verse by the poet Max Ritvo.

His father told him never start writing or reading in the middle of a book. There’s a title, don’t go on without one. And he didn’t go on without one — he had the title Private. This was life’s taproot — the obedient boy began always at the beginning. Books start out with what the boy calls Beauty — the boat’s still in port. The cat’s alive. Pantry’s packed.

Tercets in Dylan Thomas's "Do not go gentle into that good night"

Tercets are the basic unit of a form known as the villanelle , which follows an A B A rhyme scheme and has two refrains that repeat throughout the poem. These two tercets are the opening two stanzas of one of the more famous modern examples of the villanelle, Dylan Thomas;s "Do no go gentle into that good night."

Do not go gentle into that good night , Old age should burn and rave at close of day ; Rage, rage against the dying of the light . Though wise men at their end know dark is right , Because their words had forked no lightning they Do not go gentle into that good night .

Quatrains in Millay's "The Ballad of the Harp-Weaver"

This ballad by Edna St. Vincent Millay uses quatrains with a rhyme scheme of A B C B .

“Son,” said my mother , When I was knee- high , “You’ve need of clothes to cover you , And not a rag have I. “There’s nothing in the house To make a boy breeches , Nor shears to cut a cloth with Nor thread to take stitches .

Cinquain in Poe's "To Helen"

Here's an example of a poem by Edgar Allen Poe written entirely in cinquains . In this example, the rhyme scheme is not consistent between stanzas—Poe uses A B A BB in the first and A B A B A in the second, and A BB A B in the third.

Helen, thy beauty is to me Like those Nicean barks of yore That gently, o'er a perfumed sea , The weary, way-worn wanderer bore To his own native shore . On desperate seas long wont to roam , Thy hyacinth hair, thy classic face , Thy Naiad airs have brought me home To the glory that was Greece , And the grandeur that was Rome . Lo, in yon brilliant window- niche How statue-like I see thee stand , The agate lamp within thy hand , Ah! Psyche, from the regions which Are Holy Land !

Couplet in Shakespeare's "Sonnet V"

The lines at the end of this sonnet may be referred to as a "rhyming couplet." This couplet is distinguished from the rest of the poem not by a double line break, but by indentation—as well as by the fact that it uses a separate rhyme scheme from the rest of the sonnet. (In keeping with the form of the English sonnet, this poem uses a rhyme scheme of ABAB CDCD EFEF GG . Notice how the final two lines are the only adjacent lines in the whole poem to rhyme; this is yet another factor that sets them apart as a couplet.)

Those hours, that with gentle work did frame The lovely gaze where every eye doth dwell, Will play the tyrants to the very same And that unfair which fairly doth excel; For never-resting time leads summer on To hideous winter, and confounds him there; Sap checked with frost, and lusty leaves quite gone, Beauty o'er-snowed and bareness every where: Then were not summer's distillation left, A liquid prisoner pent in walls of glass, Beauty's effect with beauty were bereft, Nor it, nor no remembrance what it was: But flowers distilled, though they with winter meet , Leese but their show; their substance still lives sweet .

Elegiac Couplets in Ovid's "Elegy III"

This brief excerpt from a longer love poem by the Roman poet Ovid makes use of elegiac couplets (though the original meter is lost in translation). Although the couplets aren't separated from one another by double line breaks, each half of the quatrain below may be referred to as a couplet because of the metrical pattern they followed in the original Latin, as well as the AA BB rhyme scheme they follow in English.

Heav'n knows, dear maid, I love no other fair ; In thee lives all my love, my heav'n lies there . Oh! may I by indulgent Fate's decree , With thee lead all my life, and die with thee .

Envoi in Kipling's "Sestina of the Tramp-Royal"

This sestina by Rudyard Kipling is a good example of the sestina's use of envoi , a brief concluding stanza to a poem. The example here is an excerpt of the sestina's final stanza and the envoi . This envoi has three lines, as do all envois in sestinas. Envois also often appear in the poetic form called ballades , where they may have four or more lines.

It’s like a book, I think, this bloomin’ world, Which you can read and care for just so long, But presently you feel that you will die Unless you get the page you’re readin’ done, An’ turn another—likely not so good; But what you’re after is to turn ’em all. Gawd bless this world! Whatever she ’ath done— Excep’ when awful long I’ve found it good. So write, before I die, ‘’E liked it all!’

Stanzas in Milton's "On the New Forcers of Conscience under the Long Parliament"

Here's an example of a poem in which the poet uses indentation to differentiate the stanzas, rather than double line breaks. This poem is a "caudate sonnet," a variation on the sonnet that consists of an octave (or two quatrains) and a sestet (two tercets) followed by a brief concluding portion called a coda, which consists here of two tercets. Milton uses indentation to accentuate lines that are, in a traditional sonnet, the first lines of stanzas. Here, we've color-coded the different stanzas so it's easier to see how the indentation signals stanza breaks.

BECAUSE you have thrown off your Prelate Lord, And with stiff vows renounced his Liturgy, To seize the widowed whore Plurality, From them whose sin ye envied, not abhorred, Dare ye for this adjure the civil sword To force our consciences that Christ set free, And ride us with a Classic Hierarchy, Taught ye by mere A. S. and Rutherford? Men whose life, learning, faith, and pure intent, Would have been held in high esteem with Paul Must now be named and printed heretics By shallow Edwards and Scotch What-d’ye-call! But we do hope to find out all your tricks, Your plots and packing, worse than those of Trent, That so the Parliament May with their wholesome and preventive shears Clip your phylacteries, though baulk your ears, And succour our just fears, When they shall read this clearly in your charge: New Presbyter is but old Priest writ large.

Notice how the six lines of the coda are indented differently from the stanzas in the rest of the poem, signifying the coda's difference from the rest of the sonnet.

Stanzas in Johnny Cash's "Ring of Fire"

This is an example of stanzas in songs with lyrics. "Ring of Fire," a song by the American folk musician Johnny Cash, has verses of four lines and a chorus of five lines. The rhyme scheme is different between the verses and the chorus; it shifts from AA BB in the verse to A B A C A in the chorus. The excerpt below shows the first stanza of the song and the chorus.

Love is a burnin' thing And it makes a fiery ring Bound by wild desire I fell into a ring of fire I fell into a burnin' ring of fire I went down, down, down And the flames went higher And it burns, burns, burns The ring of fire, the ring of fire

Why Do Writers Use Stanzas?

Stanzas are used, much like paragraphs in prose, to group related ideas into units. This helps the poem to feel more structured and, therefore, more digestible to the reader or listener. The specific length, meter, and rhyme scheme of a stanza may be dictated by the poem's form, or they may be decisions that the poet makes freely according to his or her artistic vision. For example, a single-line stanza can be used to convey an image in a dramatic fashion, or an eight-line stanza can be used to convey one long, complex thought.

Other Helpful Stanza Resources

The Wikipedia Page on Stanza: A somewhat technical explanation, including various helpful examples.
The dictionary definition of Stanza: A basic definition that includes a bit on the etymology of stanza (in Italian it means "room," or "stopping place.")
A short video explaining stanzas in under a minute.

The printed PDF version of the LitCharts literary term guide on Stanza

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Explanations and citation info for 40,556 quotes across 1924 books
Downloadable (PDF) line-by-line translations of every Shakespeare play
Formal Verse
Rhyme Scheme
Bildungsroman
Antanaclasis
End-Stopped Line
Blank Verse
Slant Rhyme
Pathetic Fallacy
Protagonist
Anthropomorphism
Dramatic Irony
Dynamic Character
Alliteration

Story Arcadia

Mastering Extended Metaphor Poems: Depth in Poetry Explained

An extended metaphor is a literary device that stretches a single metaphor throughout part of, or the entirety of, a poem. It’s like painting with words, using a comparison to color every corner of a piece, giving it depth and complexity. In poetry, these metaphors are more than just decorative language; they’re the backbone that can support an entire narrative or theme, allowing poets to weave intricate tapestries of meaning.

The power of an extended metaphor lies in its ability to resonate with readers, offering them a kaleidoscope through which they can explore multifaceted ideas and emotions. By sustaining a metaphorical comparison across stanzas, poets invite us into a world where concepts take on tangible shapes, making abstract notions graspable and relatable.

This article will delve into the artistry behind extended metaphors in poetry. We’ll dissect famous examples to understand the techniques poets use to enchant their audience. Furthermore, we’ll provide a practical guide for crafting your own extended metaphor poems—complete with tips for evoking vivid imagery and ensuring your metaphor’s thread remains unbroken.

By the end of this exploration, not only will you appreciate the significance of extended metaphors in poetry but also feel inspired to experiment with this compelling form of expression yourself. Metaphorical language has the unique strength to capture the intricacies of human experience, inviting both writer and reader to dive deeper into the realm of poetic possibility. Unlocking the Power of Extended Metaphors

An extended metaphor is a literary device that stretches a single metaphor throughout part or all of a poem. It’s like painting with words, where the poet uses one image to draw parallels with another concept over several lines or verses. This technique enriches poetry, giving it layers and complexity that resonate with readers on a deeper level.

Take Shakespeare’s “Sonnet 18,” where he compares his beloved to a summer’s day. The entire sonnet explores this comparison, examining the beauty and impermanence of both. Through skillful crafting, poets weave their extended metaphors by employing symbolism, clever wordplay, and thematic consistency to ensure the metaphor remains clear and impactful without becoming overwrought.

For instance, in Sylvia Plath’s “Mirror,” the mirror itself speaks as if it were human, reflecting not just the physical appearance of those who look into it but their inner turmoil and the passage of time. Plath masterfully maintains this metaphor throughout the poem, using personification to give the mirror human-like qualities.

By sustaining an extended metaphor, poets invite readers into a multi-dimensional space where emotions and ideas can be explored in profound ways. Crafting Your Own Extended Metaphor Poem

To write an extended metaphor poem, start by identifying the two elements you wish to compare: your subject and the metaphorical vehicle that will carry your theme. For instance, if you’re comparing life to a journey, ‘life’ is your subject, and ‘journey’ is your vehicle. Follow these steps:

1. Choose a strong central theme or emotion for your poem. 2. Decide on the primary metaphor that will run throughout. 3. Begin with a striking opening line to introduce the metaphor. 4. Develop your metaphor by adding layers of meaning with each stanza. 5. Use vivid imagery to paint a picture in the reader’s mind. 6. Ensure coherence by keeping the metaphor consistent throughout.

When creating imagery, be specific and sensory-rich; talk about the “crimson leaves” rather than just “leaves,” for example. To maintain coherence, avoid mixing metaphors which can confuse readers.

Beware of overextending your metaphor to the point where it becomes forced or loses clarity. Also, resist explaining the metaphor too explicitly; trust your readers to understand the connections you’re drawing.

By following these steps and tips, you’ll be able to craft an extended metaphor poem that resonates with depth and creativity. Embracing the Art of Extended Metaphors in Poetry

In conclusion, extended metaphors stand as a testament to the transformative power of poetic language. They allow poets to stretch the wings of creativity, providing depth and complexity to their work. We’ve explored their definition, witnessed their beauty in literature, and uncovered the techniques that make them resonate with readers.

Remember, an extended metaphor is more than a fleeting comparison; it’s a sustained thread that weaves through the fabric of a poem, enriching its texture and color. By following our step-by-step guide and heeding the advice on crafting vivid imagery while avoiding common pitfalls, you can elevate your poetry to new heights.

I encourage you to embrace this literary device. Let your thoughts sail on the metaphorical seas, explore uncharted emotional territories, and express the inexpressible. The power of metaphorical language lies in its ability to encapsulate complex emotions and ideas in a relatable way. So pick up your pen and let your imagination unfurl through the art of extended metaphor poems.

Unpacking Extended Metaphor Examples in Literature…
Exploring the Extended Metaphor: Enhancing Language…
Exploring the Art of Extended Metaphors: Definitions…
Exploring the Power of Extended Metaphors: Examples…
Mastering Extended Metaphors: Enhancing…
The Intrigue and Power of Implied Metaphors:…

Extended Metaphor: Definition, Meaning, and Examples in Literature

Hannah Yang

The extended metaphor is a powerful literary device for exploring complex ideas. We encounter extended metaphors in all forms of writing, from Shakespearean plays to fantasy novels to song lyrics in pop culture.

So what exactly is an extended metaphor, and what purpose does it serve? The short answer is that an extended metaphor is a metaphor that continues throughout multiple sentences, multiple paragraphs, or even an entire poem or story.

In this article, we’ll explain how this literary device works, give you five simple steps for building your own extended metaphor, and show you some famous examples of extended metaphors from literature.

Extended Metaphor Definition and Meaning: What Is It?

What’s the structure of an extended metaphor, when you should and shouldn’t use extended metaphors, how to use an extended metaphor in 5 steps, extended metaphor examples in literature, conclusion on the extended metaphor.

A metaphor is a type of figurative language that describes something using a comparison. Here are some common examples of simple metaphors that you might hear every day:

“Time is money.”
“I’m a diamond in the rough.”
“Laughter is the best medicine.”

An extended metaphor refers to a metaphor that the author explores in more detail than a normal metaphor. It can go on for multiple sentences or paragraphs in a work of prose, or multiple lines or stanzas in a poem.

Sometimes, an extended metaphor can even be referenced repeatedly throughout the course of a story or novel, collecting new meaning as the story progresses.

Here’s a quick example of the difference between a metaphor and an extended metaphor.

Metaphor: “Her fury was a hammer.”
Extended metaphor: “Her fury was a hammer. Whenever she got angry, everyone around her looked like a nail. She wished she could wield her anger like a precision tool, but with a hammer there was no room for finesse, only blunt violence. Every time she got in an argument, out came the hammer, striking at not just the person she was arguing with but also her parents, her siblings, and even her pet dog.”

An extended metaphor takes a central comparison and expands it using more specific details.

Usually, an extended metaphor starts with a simple statement equating two things, such as “Her fury was a hammer.” Then, the author weaves in more details to explain what they mean by that comparison. Each detail should add more nuance to the initial statement, helping the reader understand what the author is trying to say.

A well-written extended metaphor can be very powerful, but an unnecessary or convoluted one can make your reader scratch their heads or even stop reading entirely.

So how do you know when you should and shouldn’t use extended metaphors?

The answer is simple: just remember that a good extended metaphor should explain a complex concept in a necessary, interesting, and clear way.

The three keywords in the sentence above are necessary , interesting , and clear . A successful extended metaphor needs to meet all three criteria.

Let’s look at each of these rules in more detail.

Rule 1: Make Sure It’s Necessary

Necessary means that the concept you’re explaining with your extended metaphor is truly important enough to warrant a detailed explanation. If the extended metaphor isn’t essential to the story, it will only waste your readers’ time.

Consider this example of an unnecessary extended metaphor: “My mosquito bites were an open flame, and I was a moth. They burned me every time I scratched them, but I just couldn’t stop.”

This metaphor makes sense, but unless the narrator’s mosquito bites are particularly important to the story, the reader doesn’t need to hear about them in so much detail.

You could just write, “I couldn’t stop scratching my mosquito bites,” and move on, rather than devoting an entire paragraph to explaining how itchy they are.

Rule 2: Make Sure It’s Interesting

Interesting means that the metaphor provides an original, funny, or thought-provoking insight. If your extended metaphor isn’t interesting, it will just bore your readers.

Consider this example of an uninteresting extended metaphor: “Her eyes were a blue ocean. I wanted to swim in them forever.”

This metaphor makes sense—we can all picture the color of the ocean—so the meaning is clear. Unfortunately, it’s not particularly interesting. Blue eyes are often compared to oceans, so this paragraph feels clichéd and unnecessary.

ProWritingAid’s Clichés Report highlights overused expressions in your writing so you can make sure your metaphors are original.

Rule 3: Make Sure It’s Clear

Finally, the third keyword, clear, means that the metaphor helps the reader understand the complex concept better. If your extended metaphor isn’t clear, it will baffle your readers and make them scratch their heads.

Consider this example of an unclear extended metaphor: “Human society is a trash can full of plastic water bottles that have been set on fire. It’s hot, smells bad, and releases a lot of fumes.”

This metaphor is interesting—we’ve certainly never heard the phrase “a trash can full of plastic water bottles that have been set on fire” before—but it isn’t clear.

It doesn’t help us understand human society any better than we did before we read it. If anything, it just made us feel more confused.

Remember those three keywords— necessary , interesting , and clear —and make sure all your extended metaphors fulfill all three. This way‌, your extended metaphors add to your writing, rather than detract from it.

Writing an extended metaphor might feel daunting at first, but you can break it down into simple steps. Here are five steps you can use to build an extended metaphor.

Step 1: Find a Concept You Need to Explain

The purpose of an extended metaphor is to explain a concept more clearly to the reader, so the first step is to identify a complex concept that you need to explain.

Here are some examples of things that you might want to describe using an extended metaphor:

Abstract emotions (such as grief, anger, joy)
Philosophical concepts (such as death, justice, human society)
Characters’ personalities
Unusual settings, situations, or environments

Step 2: Choose a Concrete Image to Explain That Concept

Now that you know the complex concept you need to explain, it’s time to choose a point of reference to help you describe it to the reader.

Think about concrete images, objects, or references that are already clear in your reader’s mind.

For example, you might come up with the following comparisons to use as your primary metaphor:

Her grief was a wall she couldn’t cross.
Justice is a boat sailing through stormy waters.
My brother has the personality of a cactus.

In each of these cases, an abstract concept (grief, justice, and a character’s personality) is compared to a specific concrete image (a wall, a boat, and a cactus). The concrete images help the reader understand what the author is trying to say about the abstract concept.

Step 3: Check the Comparison Is Necessary, Interesting, and Clear

Remember those three rules we talked about earlier? Now’s the time to make sure your initial metaphor passes all three tests: necessary, interesting, and clear.

If your central comparison is unnecessary, uninteresting, or unclear, it will just bog down your writing. It’s common for amateur writers to include extended metaphors they don’t need as an attempt to sound profound or original.

Step 4: Expand on the Central Comparison

The central comparison on its own is just a normal metaphor. To make it an extended metaphor, you need to extend it over several lines or passages.

This extension often involves smaller metaphors that expound on the primary metaphor. It takes the central comparison and examines the question, “How are these two things alike?” and provides a more detailed and specific answer.

Let’s look at an example from Step 2: “My brother has the personality of a cactus.” How exactly is the brother’s personality similar to a cactus? Maybe he pricks everyone who gets too close because he prefers to be left alone. Or maybe he can survive in harsh conditions, subsisting with barely any sleep, water, or human contact.

Adding these specific details turns a normal metaphor into an extended metaphor.

Step 5: Repeat the Comparison Throughout the Piece

If you want to, you can revisit your extended metaphor multiple times throughout your book , poem , or story . That way, you can create a sustained metaphor that gathers meaning over time.

This final step is optional, but can be extremely powerful if used correctly. Just make sure each new repetition is also necessary, interesting, and clear.

Here are some extended metaphor examples from works of English literature: novels, plays, poetry, and nonfiction.

In each example, see if you can spot the main comparison and the ways the author expands on it throughout the passage.

Example 1: The Handmaid’s Tale by Margaret Atwood

“I wait. I compose myself. My self is a thing I must now compose, as one composes a speech. What I must present is a made thing, not something born.”

Example 2: As You Like It by William Shakespeare

“All the world’s a stage, and all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts.”

Example 3: The Magicians by Lev Grossman

“But walking along Fifth Avenue in Brooklyn, in his black overcoat and his gray interview suit, Quentin knew he wasn’t happy.

Why not? He had painstakingly assembled all the ingredients of happiness. He had performed all the necessary rituals, spoken the words, lit the candles, made the sacrifices. But happiness, like a disobedient spirit, refused to come. He couldn’t think what else to do.”

Example 4: The Fifth Season by N.K. Jemisin

“So you must stay Essun, and Essun will have to make do with the broken bits of herself that Jija has left behind. You’ll jigsaw them together however you can, caulk in the odd bits with willpower wherever they don’t quite fit, ignore the occasional sounds of grinding and cracking. As long as nothing important breaks, right? You’ll get by. You have no choice. Not as long as one of your children could be alive.”

Example 5: On Writing by Stephen King

“I did as she suggested, entering the College of Education at UMO and emerging four years later with a teacher’s certificate… sort of like a golden retriever emerging from a pond with a dead duck in its jaws. It was dead, all right. I couldn’t find a teaching job and so went to work at New Franklin Laundry for wages not much higher than those I had been making at Worumbo Mills and Weaving four years before.”

Example 6: “To a Young Poet” by Edna St. Vincent Millay

“Time cannot break the bird's wing from the bird. Bird and wing together Go down, one feather.

No thing that ever flew, Not the lark, not you, Can die as others do.”

Example 7: Palimpsest by Catherynne Valente

“The keeping of lists was for November an exercise kin to the repeating of a rosary. She considered it neither obsessive nor compulsive, but a ritual, an essential ordering of the world into tall, thin jars containing perfect nouns.”

There you have it—a complete guide to extended metaphors! I hope this article helped you learn more about this versatile literary device.

Don’t forget to run your writing through ProWritingAid to make sure you’re using figurative language as successfully as possible. Our tool can help you avoid clichés, strengthen your imagery, and more.

Can you think of any extended metaphors from your favorite books? Share them with us in the comments!

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Hannah Yang is a speculative fiction writer who writes about all things strange and surreal. Her work has appeared in Analog Science Fiction, Apex Magazine, The Dark, and elsewhere, and two of her stories have been finalists for the Locus Award. Her favorite hobbies include watercolor painting, playing guitar, and rock climbing. You can follow her work on hannahyang.com, or subscribe to her newsletter for publication updates.

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Writing about Writing: An Extended Metaphor Assignment

Resources & Preparation
Instructional Plan
Related Resources

Useful at key points in a term, such as the beginning or end of the term, this lesson asks students to reflect on their writing process, and helps the teacher learn more about students' habits and techniques as writers. Students begin by reading and analyzing the poem "The Writer" by Richard Wilbur, particularly discussing the use of extended metaphor. Students then reflect on their own writing habits, compare themselves as writers to the writer in the poem, and brainstorm possible metaphors for themselves as writers. Finally, students complete one of several recommended projects to extend the metaphor describing themselves as writers. Throughout the process, students share their work in small groups.

Featured Resources

"The Writer" by Richard Wilbur : Analysis of this poem sets the stage for students' work with extended metaphor.

Writing Habits Journal Questions : Use these questions to help students reflect on their own habits as writers.

Writing Metaphor Assignment : This assignment offers several projects that students can choose to extend a metaphor describing themselves as writers, including creating a scrapbook, designing a CD cover, writing a paper, or writing a short story.

From Theory to Practice

This project asks students to think deeply about their writing and how they work as writers. This process of deep reflection helps students improve as writers. Dawn Swartzendruber-Putnam explains:

"Reflection is a form of metacognition-thinking about thinking. It means looking back with new eyes in order to discover-in this case, looking back on writing. As Pianko states, ‘The ability to reflect on what is begin written seems to be the essence of the difference between able and not so able writers from their initial writing experience onward' (qtd. in Yancey 4)" (88).

Rather than reflecting on a single piece of writing, this activity asks students to analyze the trends and patterns in their own writing. By exploring their work, they identify the habits that work well and those that need rethought.

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

3. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).
4. Students adjust their use of spoken, written, and visual language (e.g., conventions, style, vocabulary) to communicate effectively with a variety of audiences and for different purposes.
5. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).
Writing Habits Journal Questions
Writing Metaphor Assignment
Writing Metaphor Rubric
"The Writer" by Richard Wilbur

Preparation

Make copies of the Writing Habits Journal Questions , Writing Metaphor Assignment , and Writing Metaphor Rubric . If the poem is not available in your class text, either make an overhead or copies of "The Writer" by Richard Wilbur .
Decide how to position this activity in your curriculum. Students may compose multimodal projects, polished papers, informal papers, or even journal entries. The Writing Metaphor Assignment lists a range of options for more formal projects. To narrow the focus, you might choose only a few of the options rather than giving out the entire list. Just keep in mind that the important goal is for students to discover more about themselves as writers and to share their discoveries with others in the classroom writing community.
Review the Writing Habits Journal Questions , and decide whether to use the entire sheet or a shortened version. If you narrow the list, it's important for the full activity for students to consider questions 6, 9, and 10 at a minimum.
Acrostic Poems
Letter Generator
Plot Diagram
Literary Elements Map
ReadWriteThink Printing Press
Be sure to test the student materials on your computers to familiarize yourself with the tools and ensure that you have the Flash plug-in installed. You can download the plug-in from the technical support page.

Student Objectives

Students will

analyze a poem, in particular paying attention to metaphor.
reflect on their writing process.
build community by sharing their writing habits with others.
compose a text based on a metaphor they have chosen for themselves as writers.

Session One

Pass out copies of "The Writer" by Richard Wilbur , and introduce the poem to the class.
Read through the poem completely one time.
Ask students to share any immediate reactions.
Read through the poem more slowly, pausing to define any unfamiliar words for the class. Because they are important to the poem's imagery be sure that students understand the meaning of the key words that relate to nautical imagery—prow, gunwale, cargo, and passage.
Who is the speaker? Who is telling the story in this poem?
Where is the speaker when the events in the poem take place?
Which parts are from the present, and which are from memories?
What are the speaker's emotions?
How do the speaker's feelings influence the message?
What is the speaker talking about?
What is the message in the poem?
What is the speaker trying to communicate?
Read through the poem again, asking students to listen for comparisons in the poem (e.g., places where one object is compared to another).
Have students share their observations, recording their comments on the board or on white paper.
What words and ideas in the poem have to do with ships and boats?
How do the words that describe sounds in the poem work (e.g., "commotion," "stillness," "silent")? What comparisons do they suggest?
How is the starling in the poem a comparison?
Read through the list, and ask students to identify comparisons that relate to the subject of the poem.
Once the list has been narrowed, ask students to discuss how accurate the comparisons are and what they tell readers about the speaker and the subject of the poem. Introduce the concept of metaphors, using this simple explanation or the information in OWL's Using Metaphors in Creative Writing .
To ensure connections between the poem and the writing activities that students will complete, ask them to explain what the poem communicates about writers and writing in general, as well as in the particular situation that the poem describes.
Pass out copies of the Writing Habits Journal Questions , and ask students to answer the questions for homework. Read through the questions as a group, and make any adjustments or add any suggestions. If desired, students can create their informal outlines (for question 6 on the journal questions handout) using the ReadWriteThink Notetaker .
If time allows, provide answers to the questions based on your own writing experience, or discuss one of the questions as a class.

Session Two

Arrange students in small groups, and ask them to share their answers to the Writing Habits Journal Questions with one another.
Ask groups to choose answers to three questions to share with the rest of the class.
Monitor student progress, and provide feedback and support as they discuss their writing processes.
Once the groups are ready, gather the class and work through the questions one-by-one. Students can share any observations in general, and groups should be prepared to share the answers that they have chosen.
After sharing their responses, focus the class's attention on noticing the many varied ways that writers work while at the same time listening for practices that many writers use. Have students recall stories and details from the class discussion that show variety as well as those that demonstrate similarities.
Return discussion to "The Writer" by Richard Wilbur . Based on the class discussion, ask students to compare themselves as writers to the writer in the poem. Encourage students to point to details in the poem and to connect to specific information about their own writing.
Pass out the Writing Metaphor Assignment (or the options that you have chosen), and read through the assignment with the class. Be sure to draw clear connections to the poem that the class has explored in the previous session. Students might also find OWL's Using Metaphors in Creative Writing helpful as they begin thinking about creating metaphors for themselves as writers.
Ask students to review the responses that they wrote to the Writing Habits Journal Questions and brainstorm a list of possible metaphors that they can use to describe themselves as writers. Encourage students to identify at least three to five ideas.
Once students have a list of possibilities, have them freewrite on connections for each possible metaphor. Remind students to use their journal responses as a resource as they work.
With ten to fifteen minutes left in the class, arrange students in small groups, and have them share their metaphors with one another. Students can provide feedback and support.
For homework, ask students to write a brief description (in their journals or on a separate piece of paper) of the metaphor they have chosen and the project that they will complete.

Sessions Three to Five

Either collect students' descriptions of their plans for the project or ask them to share their ideas with the class or in small groups. Provide feedback as appropriate.
Pass out the Writing Metaphor Rubric and discuss the criteria for the projects. You may add criteria depending on the projects that students choose.
If students have not done so earlier, you might have them create their more complete outlines of their general composing process, using the ReadWriteThink Notetaker .
Answer any questions that students have about the project; then, have students spend the period working on their assignment.
Acrostic Poems : Gather students working on acrostics. Ensure that they understand the format, and then work through an example metaphor using the tool.
Letter Generator : Discuss the difference between business and friendly letters with students who choose to write a letter to the class about their process. Using the online tool, review the parts of a letter (e.g., salutation, greeting). Use the tool to work through the process of publishing a letter.
Plot Diagram and Literary Elements Map : Review literary elements with students who choose to write a short story or silent movie script. You can use the Elements of Fiction Overview to shape the discussion. Demonstrate the two tools, and discuss how students can use the tools to gather ideas for the projects and plan their structure.
ReadWriteThink Printing Press : Demonstrate the Printing Press for students completing the tabloid exposé option. Students can use the newspaper layouts to publish their pieces.
Be sure to demonstrate PowerPoint as well, if students can use the software for the projects they have chosen.
As students work, encourage sharing and feedback. Cultivate a writing workshop atmosphere, where students share drafts and solve problems together.
At the end of the fifth session, ask students to submit their projects for your review. Alternatively, ask students to share their metaphor projects with the class or small groups during an optional sixth session.
If students complete this activity early in a term, retain a copy. At the end of the term, pass the copies back out and ask students to revisit their metaphors, focusing on how they would revise or change their metaphors based on the experience over the course of the term. Students might submit revised projects as a final examination.
Have students explore Modern American Poetry: Richard Wilbur to learn more about the poet. This University of Illinois site includes a brief biography and background information on Wilbur as well as the poet's commentary on his poems. The site also includes a transcript of a 1995 interview.

Student Assessment / Reflections

Observe students for their participation during the exploration and discussion of their writing process and their metaphors. In class discussions and conferences, watch for evidence that students are able to describe specific details about their writing and prompt them to reflect on why they write as they do. Monitor students’ progress and process as they work on their writing metaphor projects. For formal assessment, use the Writing Metaphor Rubric .

Calendar Activities
Student Interactives

Students focus on the figurative language in Heaney's poem, "Digging," and discuss the speaker's attitude, and how metaphor, simile, and image contribute to the poem.

Useful for a wide variety of reading and writing activities, this outlining tool allows students to organize up to five levels of information.

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How To Edit Poetry: A Guide On How To Become One Of The Best Poem Editors In The World.

Critical Essays

Serious poets want to be better writers of poetry . Also, they want to learn how to edit poetry.

Many poets understand that editing is as important as the actual writing. It’s your opportunity to examine and refine your work into a better and more developed piece worthy of awards . It makes sense to learn how to edit poetry. Who knows where your reputation as a poetry editor might take you?

Editing can seem daunting, and it’s also quite exciting. So take some time to experiment and find the techniques and processes that best work for you and your poetry. Yes, you’ll have to learn to edit your poems first.

Here’s a guide on how to edit poetry. This guide includes poetry editing strategies guaranteed to help you become a great poetry editor .

Take a Break From The Poem.

Writing poetry can be difficult and consuming. After completing your poem, take a break from the creative process. Let your brain relax. Reapproach your poem with a fresh mind. You want to be able to read the line with fresh eyes.

This technique works when you’re editing your own poem and when you’re editing another writer’s poetry.

You’ll do a better job of assessing and editing the poem more objectively if you implement this technique.

Save the First Draft Of The Poem.

One of the reasons editing can feel intimidating is because of the idea that you’re “ killing your darlings .”

Keep your unedited first draft, so the poetry editing process doesn’t feel like you’re cutting and discarding your own precious lines of poetry.

If your poem is typed, it can be helpful to print it out. Your unedited draft will remain on your computer, and editing is often easier when you physically highlight and make notes on the poem.

This way, instead of killing your darlings, you’re still letting them hang around, and the unused ones can be used in other poems.

In addition, your edits will be reversible, and you can compare your unedited and edited versions for even more improvements. All the best poetry editors use this strategy. It’s a good tactic for anyone who’s still learning how to edit poetry.

Read your Poem Like a Reader Would.

Read your poem in its entirety. Don’t make edits or think about adjustments. Let yourself enjoy the words and experience your poem like a reader would. After a complete read, note down your immediate thoughts and impressions.

Do any words or lines feel strange?
Which parts could use reinforcement?
Do some areas seem choppy or cramped?

Think about the reader’s perspective.

Is the writing clear or confusing?
Is the theme or message of your poem coming across?

It can also be helpful to read your poem aloud so you can pick up on how it sounds.

How is the rhythm and flow? Is your writing eloquent enough?

Reading through your poem and breaking down what exactly needs to be fixed will result in more productive and efficient editing. Now you’re prepared to make your first level of edits.

Enhance the Style

After making the first round of adjustments, begin focusing on style edits. The style of a poem is all the choices that are made to create the poem’s meaning. Coleridge’s The Rime Of The Ancient Mariner is a good example of a well edited poem.

This can range from literary devices to punctuation to rhythm to mood. Examine your style elements and how they contribute to the poem; they should enhance your writing and complement the themes and meaning of your poem.

That being said, you should also make sure that your poem isn’t crowded with style elements. Poetry is a form that operates by the “less is more” policy, so sometimes it can be helpful to remove excess.

Does your style complement your poem?
What elements could be enhanced to contribute to a more developed piece?
What elements could be taken out to clear unnecessary crowding and confusion?

Assess the Language Of The Poem.

Carefully study your word choice. Every word should be contributing to the theme, structure, and rhythm of your poem. Also examine your diction and what it is implying.

Does the diction match your theme and style?
Are there ways to maximize the effect?
What is one way to revise for word choice?
Is this poem good enough for oral reading?

This is a good time to take out your thesaurus and experiment with word choice. Also, poetry usually isn’t as word-heavy as other forms of writing. Keep that in mind while editing; it’s better to remove unnecessary adjectives and adverbs. Additionally, make sure you are beginning and ending with powerful lines for a stronger poem and greater impact.

Reorder and Restructure

Once you’ve done all your writing-based edits, give your poem another read. Assess the order and structure of your poem. Experiment with different stanza and line orders to find which sounds and flows the best. This will help you to learn how to edit poetry.

Poetry also involves an aesthetic element; try altering your lines to make your poem look better on the page. If your poem is typed up, a helpful tip is to change the font.

Your brain gets accustomed to observing the same text; changing the font will let you assess it with fresh eyes and assess the structure better. As a bonus, grammar and spelling errors are easier to detect with a font change.

Can your stanzas be reordered to flow better and make a better poem?
Could your lines be rearranged within the individual stanzas to emphasize meaning?
Could your lines be shortened, lengthened, or combined to create a better structure?

what is one way to revise for word choice?

Ask Others for Feedback

After you’ve made all your edits, it can be helpful to ask others for their suggestions. Share your poems with trusted friends, family, or other writers and ask them for feedback.

A good practice is to ask others what they think the poem is about. You may get some interesting poetry analyses that can indicate whether your poem is being understood the way you want it to or not.

Keep in mind that you get to decide what to do with the feedback you receive. If you found it insightful you could use it to do another level of edits. You could also choose not to act upon the feedback; it’s your poem, edit it as you see fit.

You can also seek feedback on the behalf of the writer whose poem you’re editing. The feedback you’ll get will help you do a better job of editing the poem. With time, you’ll figure out everything you need to learn about how to edit poetry.

Rewrite Your Poetry .

Every poet has heard this saying, ‘the first draft is always trash.’

While editing a poem, be prepared to revise some lines. Writing experts advice poets to edit until your poem says what you want it to say. Writing experts advice poets to edit until your poem says what you want it to say before getting it published .

Edit the poem until it sings. If you’re still learning how to edit poetry, don’t be in a haste to rewrite ‘imperfect’ sentences. Be careful to avoid editing out the writer’s voice. Strike a balance between maintaining the writer’s voice and improving the lines of the poem.

Read The Poem Out Loud.

After a few rounds of revision, read the poem aloud. This will help you to spot errors you might have missed.

Read the poem to a small audience, and listen to their opinion. Good poems are often good for oral reading.

Also, ask yourself if you’re satisfied with the edited poem. If you aren’t, revise the part that require some improvement.

Congratulations on completing your poem, if you feel satisfied with the completed poem!

If you aren’t happy with the finished work, no worries! You can always return to the editing process and write as many drafts as you need.

Use A Grammar And Spell Checker Like Every Good Poem Editor.

Every poet who’s still figuring out how to write a poem must use a grammar checker or a spell checker. This will go a long way to help you to correct small grammatical and spelling errors.

Wrap Up On How To Edit Poetry.

Poetry editing isn’t a small feat. It requires a lot of writing and reading, as well as a ot of practicing. You have to learn to take a break from the poem with the aim of backing back to the poem with fresh eyes. Other strategies include:

rewriting the poem
Getting feedback from seasoned poetry critics or writers
Restructure your poem
Read the poem aloud to yourself and them to a small group of cohorts.
Using a grammar checker
Take a break from the poem.
Using a thesaurus or a dictionary.

It’s standard practice for every editor to use a dictionary or a thesaurus. This ensures that only the apt and concise words make it into the final draft.

While figuring out how to edit a poem, strive to choose the best words in the poem you’re editing. Many editor poets often wonder, “what is one way to revise for word choice?” My answer: revise awkward-sounding lines and use a thesaurus or a dictionary.

Did you ever have to actively learn how to revise a poem? What lessons have you learned from your experience? Please share your story in the comments section below. There are thousands of poets who want to learn how to edit a poem.

You can find more poetry writing tips in this article .

Zainab Hassan

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Create a Visual Poem

Students will analyze verse and explore meaning by creating a visual poem..

The National Poetry Council is looking for ways to promote interest in poetry. Since most homes have a television, they have decided to broadcast short poems set to music and pictures. They have asked for help to build their collection.

Explore examples of visual poems online. Search SchoolTube or YouTube for your favorite poet or a poem your class has recently read and watch the Getty Institutes how-to video.

Before having students work individually, or in small teams, develop a visual poem as a class.

Read the poem you wish to model to our class or distribute for them to read.

What does the poem mean? Work together to identify specific words that help the reader visualize the meaning or feel a certain way and discuss the intent of the author in using these specific words.

Search an image site like Pics4Learning.com to find images that support the meaning of the text in each line or stanza. Use the words your class identified in the poem to help organize your search. Discuss how well the images that result match the mood and meaning of the poem.

Use a tool like Wixie to combine the images and text. Have a student with strong fluency narrate the visual poem.

Work together to discuss the mood of the poem and find music that is appropriate and add it as a background soundtrack.

Now that you have modeled the process, task students with creating their own. Group students into small teams and assign specific poems or create a collection for students to choose from.

Teams should begin by identifying key words in the poem and discussing the mood or feeling it is meant to evoke.

Using graphic organizers like t-charts and clusters can help students focus on key words and their meanings to determine mood and better comprehend the author's intent.

Try creating graphic organizers with your students in Wixie.

Have teams focus on individual lines or verses and locate images that help the viewer better comprehend the meaning and connect to the content. Encourage students to use digital cameras to capture original photos. Apps like Wixie have tools students can use to create illustrations.

Teams should combine the images with text, voice narration, and background music to complete their visual poem.

Share student's visual poems at a poetry festival or poetry event at your school. You can project the visual poems between students reciting poetry orally or showcase during a school-wide event.

To extend the learning and focus on really analyzing each poem, post them individually to your classroom web site, or on morning announcements.

After you have read the poem as a class, you can begin assessing student understanding as they choose key words that evoke feelings or ideas. Evaluate each student’s comprehension as they complete a cluster graphic organizer sheet for their part of the poem. You will want to be available for questions and discussion as they work through their analysis.

You can also evaluate their choice of an image. Remember, the quality of the image reflects both their understanding and analysis of the poem, as well as their ability to complete an effective internet search, visual ability to draw, and/or skill capturing an image with a digital camera.

As they make the movie, listen to the discussions between students. They will be making observations and comments and may even change their mind about their picture. If you are adding music to the background, the musical selection may also indicate student understanding of the poem.

Janeczko, Paul B. (2000) Teaching 10 Fabulous Forms of Poetry . Teaching Resources. ISBN: 0439073464

Sweeney, Jacqueline. (1999) Teaching Poetry: Yes You Can! Scholastic. ISBN: 0590494198

Poetry Anthologies and Thousands of Poems bartleby.com/verse

Project Gutenberg gutenberg.org/catalog

Common Core Anchor Standards for English Language Arts - Grade 4-12

Reading Standards

Craft and Structure

4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.

Speaking and Listening Standards

Presentation of Knowledge and Ideas

5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.

6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.

ISTE Standards for Students

6. Creative Communicator Students communicate clearly and express themselves creatively for a variety of purposes using the platforms, tools, styles, formats and digital media appropriate to their goals. Students:

a. choose the appropriate platforms and tools for meeting the desired objectives of their creation or communication.

b. create original works or responsibly repurpose or remix digital resources into new creations.

c. contribute constructively to project teams, assuming various roles and responsibilities to work effectively toward a common goal.

d. publish or present content that customizes the message and medium for their intended audiences.

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COMMENTS

How to Write a Poem: In 7 Practical Steps with Examples
Compare your subject to something else by creating an extended metaphor. Try to relate a theme or a simple lesson for your reader. Use at least two of the figurative language techniques from above. Create a meter or rhyme scheme (if you're up to it) Write at least two stanzas and use a line break.
9 Essential Poetry Writing Techniques For Beginners: A Complete Guide
Key Takeaways. Poetry needs techniques like rhyme, repetition, and onomatopoeia to make words come alive. These tools help create a rhythm that can make reading poetry feel like music or dance. Similes and metaphors are comparisons used in poetry to paint vivid pictures with words. They help the reader see and feel what the poet describes.
How to Write a Poem: Step-by-Step Guide to Writing Poetry
Prasanna. Prasanna is on a little break from academia and spends his time compiling fiction writing tips. He enjoys poetry, mythology, and drawing lotuses on any surface he can find. 9 steps to writing poetry: 1. Read ten other poems 2. List topics you feel passionate about 3. Consider poetic form, but not too much 4.
Creative Writing: Poetry: Stanza & Rhyme
Resources for Stanza & Rhyme. The Teachers and Writers Handbook of Poetic Forms by Ron Padgett (Editor) ISBN: 0915924617. Publication Date: 2000-01-01. A reference guide to various forms of poetry with entries arranged in alphabetical order. Each entry defines the form and gives its history, examples, and suggestions for usage.
Poetry Techniques
Advertisement: 2) Make it specific. Instead of Love, for example, write about "the love between my parents." Then try making it even more specific: "the love between my parents and the silent ways it shows itself when they are eating dinner together." Try relating it to a certain person, place, event.
Playing with Stanzas
1. Write 3 poems, each with very different stanza lengths — for instance, one poem could be all one stanza, another poem could have very short stanzas, another a mix. It's up to you. 2. Have a reason for the different stanza lengths. Don't let them be arbitrary. Really have a reason that these stanzas need to be the length that they are. 3.
How To Rework Your Poem
When you have reworked your poem and are closer to what you want or intend, then look at how to strengthen your title. It's as important as any line in your poem, probably more so. It should add something to the poem — another layer of meaning, another facet, a flag or a "heads up". Don't give up and call your poem "Untitled".
How to Write a Poem in 5 Easy Steps
Poetry is one of the most elegant forms of human expression. From the epics of Homer to the sonnets of William Shakespeare to Edgar Allen Poe's "The Raven" to the silly limerick you learned at school, there is a type of poetry for every purpose. Reading poetry is a rite of passage for American schoolchildren, but writing poetry of your own is a challenge.
The Start: Writing Your Own Poem
The Start: Writing Your Own Poem. Resisting the urge to interpret contemporary poems and "wrong" dreams. By Judy Rowe Michaels. Practice of an art is more salutary than talk about it. There is nothing more composing than composition. —Robert Frost, from his notebooks in Poetry and Prose (Holt, 1972) Leaving a Loop.
How To Write A Poem: Comprehensive Guide For Beginners
Use literary devices like similes and metaphors to add depth to your poem. Try different forms like sonnets or free verse to find what best suits your message. Edit your work by reading aloud and changing words for the strongest impact. Join a writing community, seek mentorship from published poets, and keep practicing.
6.2 The Poem
Find a poem you really like. Study it, and then write a poem of your own. (Hint: To credit your source, write "inspired by," the poem's title, and the poet's name at the top, just under your poem's title.) Trade poems with a classmate. Use the peer review process described in Chapter 7.2 Peer Review to give each other feedback. Revise ...
Stanza
What is a stanza? Here's a quick and simple definition: A stanza is a group of lines form a smaller unit within a poem. A single stanza is usually set apart from other lines or stanza within a poem by a double line break or a change in indentation. Some additional key details about stanzas: Stanzas provide poets with a way of visually ...
How to Edit Poetry: 10 Tips for Editing Your Own Poems
Pay particular attention to your first line and last lines of your poem. The opener will set the tone and mood of your poem, the last line should leave a lasting impression. 6. Look over your language. Poetry is a medium of few words, but each one contributes to the bigger picture a poem creates.
Mastering Extended Metaphor Poems: Depth in Poetry Explained
Follow these steps: 1. Choose a strong central theme or emotion for your poem. 2. Decide on the primary metaphor that will run throughout. 3. Begin with a striking opening line to introduce the metaphor. 4. Develop your metaphor by adding layers of meaning with each stanza.
Creative Constraints: How Limits Set You Free
Pick a number of lines per stanza (it's amazing how powerful this simple tool can be) Decide the total number of lines or stanzas in advance. Pick a dominant line length for the whole poem. Alternate long and short lines. Repeat a pattern of line lengths in every stanza—with or without syllable counts.
Extended Metaphor: Definition, Meaning, and Examples in Literature
Here are some common examples of simple metaphors that you might hear every day: "Time is money.". "I'm a diamond in the rough.". "Laughter is the best medicine.". An extended metaphor refers to a metaphor that the author explores in more detail than a normal metaphor. It can go on for multiple sentences or paragraphs in a work of ...
A Beginner's Guide to Editing Your Poetry
3. Check your modifiers. Elementary school teachers taught us that our writing would be stronger if we added adjectives and adverbs. That's not the only thing they lied about, of course.
Writing about Writing: An Extended Metaphor Assignment
"The Writer" by Richard Wilbur: Analysis of this poem sets the stage for students' work with extended metaphor.. Writing Habits Journal Questions: Use these questions to help students reflect on their own habits as writers.. Writing Metaphor Assignment: This assignment offers several projects that students can choose to extend a metaphor describing themselves as writers, including creating a ...
How To Edit Poetry: A Guide On How To Become ...
Rewrite Your Poetry. Every poet has heard this saying, 'the first draft is always trash.' While editing a poem, be prepared to revise some lines. Writing experts advice poets to edit until your poem says what you want it to say. Writing experts advice poets to edit until your poem says what you want it to say before getting it published.
Build Speech-Language Skills Through Creative Writing
Using creative writing activities helps extend students' goals beyond the speech-language room. Students from elementary to high school can express themselves outside the formal confines of academic writing—and, at the same time, address speech and language skills. ... For example, I ask students to write their own books with words ...
Create a Visual Poem
Discuss how well the images that result match the mood and meaning of the poem. Use a tool like Wixie to combine the images and text. Have a student with strong fluency narrate the visual poem. Work together to discuss the mood of the poem and find music that is appropriate and add it as a background soundtrack.
G12 SLM2 Q3 Creative Writing
3. Revise your poem Once you have received feedback on your poem, revise it until it reaches its best form. Use the feedbacks to help improve your poem and your way of writing. Try to come up with your own poem by completing the tasks below. Task 4 Starting the Poem Direction: Brainstorm ideas to get you started with your poem by using this ...