1. poetry's effective as a way to write poems. there's no set way to write poems but poetry is a good start. you have language, more than likely, and all fired up a lot of times, but not always. you practice the idea that each word goes next. when you've gotten that down to a science, tho it's an art, you can take on longer pieces that will cover your career at it. each poem is home work of the best kind. you put together all your experience then say it like you can. or if you can't, that's fair game too and you should try, try, try! some poems aren't as much poetry as they could be something. like, you don't always hit the nail squarely, with poetry. often, you read something and it is somewhere else. try using a different title, and dedicate it to a friend. natural poetry comes in many trees, or flowers too, and so forth, so be alert. love is in the air. it's all really ripe for rendering as a poem that will be from the poetry of the world. if you can do this, you are a poet. welcome Poet to the world!!!
2. DON'T LEARN POETRY, WRITE IT!!!
3. poems become poetry at the drop of a hat, but not just any hat. the favour of a hat will be your cue. steep inside the very word choice along the lines of the poetry you know exists. the poets of poetry release a special gas and forth, like when you suddenly expect the expected in your time. but then it allocates a better way, right before your eye. you've been there in a trice, worked a skill that isn't there, and bent the beam of light. I'll never forget the first poem, and the last. and so should you. it isn't even about poems all the time, but the poetry that fits the scale. you last for minutes in a moment, each petal of the flower turning brown in your eyes,and that's a nifty sentiment besides. so really, keep the plan extended, for poetry's on the way!
4. how does the metre of arrangement make the poem? add poetry by the gob. you see, it all frames inside the tactic of relative sound or look about the thing itself. a poem wants a work habit, like all of us. and such is hence, when we get down to biz. it's like you sound not completely. you're on and off, after all, and merriment isn't full of us particularly. so let the practice ask a question hereabouts, that metre of your mind that sits upon the reading. did you say John Donne in the quiet of an afternoon, three blocks down from a noisy television? then you might relent to the feathery pulse or not. had you scheduled a football game retreat at such and such, without the bass for rhythm, maybe this is free verse in the very day we have. it doesn't have to be a rule of thumb, for which thumb is better than what not as we look about the room? but not a continual drag on the economy either. metre is the making of a time of poems. your simplicity matches the gas that you use in the chariot that you drive or wish you had a handle on the moment here and now. is that what you mean? why not let it in?
5. I realize I have a lot to give as a writer and poet. I've been trench and distance for lots of time,and sometimes that time has not been marked. so I can offer abutment by which you can slap a few frenzies in place. when you get sleepy, you can murmur something unexpected from the hall. I think a match of articles works, and a sentence such as what they claim is all right. but then I can be honest enough to say whatever pond has fish, that's the one to try.
6. season of mist and mellow fruitfulness is pretty useless if you have a cold, but otherwise is as good as giving it a try.
7. in about the time it takes a poem, it does after all.
8. your town probably doesn't have poetry embarkation, few towns do. even cities are specious in the arrival of such a thinking thru and thru. each dose of ready made alert of language for the nonce continues a sagging marketplace but honestly not a spot. the escutcheon doesn't dream the theory but scoops out classes of membership benefits. tropical storms fit season to a glove, but you needn't scan the weather reports for your only rapt attention. take a vocabulary trip to something else! please! that business about wheelbarrows could be misplaced at this time. face it: your town, most likely, as striven on another raid. use a different voice instead, lifting words from where they were. the present is a situation, so much as words can know.
9. downhill from Elizabeth Barrett Browning, perhaps a sweaty mark of prop. a special hat or at the brink or once there was a kinship or a bunch of things that aren't so rivaled. maybe making a train of candid stuff to pull, last lyric sheet before the tunneled lowdown. you can say gosh, or even more, if that's the way you're in! you have control of all baubles, and the implication of the language inside them!
10. Brad Pitt as naked as you will ever see him! perhaps that's not poetry, or the likelihood of poem, but you can try anything once. freshets make poems, we've all heard. why couldn't Brad Pitt, with or without Jennifer Anniston--erstwhile wife and person of a realm--as well? so the beginning allays the end, somewhat. each word leads something, if language wants lines of something for us. if not, there's always the picture left behind.
11. take a poem from the front door and settle it with as much as you have left.
12. delinquency among poets doesn't work. you've got to sing across the street to the mailbox, and, in returning with regret, you've still got to carry the tune. each effort culls a word from the flock of outside management. a big book by Emily Dickinson, her editor, and the trustees of Harvard, maintains a strict comportment for you and the fleet. those boats will bang among the waves, driven to a journey or jug, and become written right in. you may not have so much as that carriage, but in minority and microcosm you could assert a suit. a special sense of frond particularly becomes you. and you it.
13. remember that hints and suggestions are the where to go. say you know someone who can offer same. it's possible, like ability. listen to these cracks in the guard, or read them if that applies. get the point across or be reached by the point. trails offer places, and place makes the start. sentences always need beginnings, never lack the need. and periods end them with satisfaction, like an idea has a limit for home. listen to someone, even if they are anyone. then, without superfluity or the like, try your own trading method. you can't hamper a poem. it is too busy hampering you.
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