Writing poetry: How to get started BY FERN G. Z. CARR
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oetry is often described as a solitary art, conjuring up images of recluses immersed in reverie and literary inspiration. Reality is not so romantic. Many poets are self-taught and have no access to mentorship. Conversely, workshops and writing groups may not necessarily appeal to poets who are intimidated by baring their creative souls. I would therefore like to share some of the benefits of my experience and by so doing, hopefully brighten your poetic journey. After twenty-three years of writing poetry and being published approximately seven hundred times, I am still learning the tips and tricks of the trade. We are all lifelong learners. My key piece of advice is simple. Write because you want to. Do not do it for fame or fortune, because that is just not realistic. If you have a sincere compulsion to write, do it with gusto but be disciplined. Persist, persist, and then persist. Practice may not make perfect, but it definitely goes a long way. While creativity does not appear on demand, it is nevertheless important to respect two rules of thumb: 1) Read copious amounts of poetry spanning all eras, not to imitate others but to hone your own craft. 2) Dedicate a daily block of uninterrupted time for your writing. Even though no one can be inspired twenty-four hours a day, by following a routine, you will continue to flex your literary muscles.
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wordworks | 2022 Volume I
An exception to adhering to a set schedule is the incidence of writer’s block. This is a common occurrence, so do not fret if you happen to experience it. Instead, grant yourself permission to take a break. Only you can determine how much of a hiatus you will need. Be sure to rejuvenate yourself with a change of pace and activity; your creative juices will start to flow once again. As to the mechanics of writing poetry, I believe there is one overriding notion—poetry is compact storytelling. It is more concise than prose. A poem is different from an essay, short story, or novel. Lines are shorter and fewer pages are used to convey a message. One of my editors told me she thought poetry was more impactful than prose. She described my poems as capturing emotion into little bombs, and then unleashing them. Because poetry is so concise, word choice and nuance are critical. For example, if I were to write a poem about a funeral, instead of using the word endeavour, I would use undertake in order to be consistent with the theme. Of course, this word play should not be overdone since it could unintentionally detract from the flow of the piece. Another challenge is to strike a balance such that imagery and symbolism are subtle but not cryptic. It never fails to surprise me when readers share their interpretations of my poems. They point out themes
