Welcome to the world of form! In this chapter we will challenge your creativity by exploring different traditional and contemporary poetry forms, so that you can flex your poetry prowess by writing to the rule book. We’ve also included examples so you can see what poems within a certain form look like.
Now, we can hear what you are thinking: “Rules, schmooles, I’m a contemporary poet! I will not be contained.” But hold on—there are several great reasons for writing to the rules, and we encourage you to consider them before you declare that you are skipping this chapter in an act of poetic rebellion.
1. The rules give you freedom. Many of us get stuck in the safe and familiar. How often have you written a love poem, or a poem about the ocean? Writing to the rules will shake up your perspective and set you free from your existing habits.
2. The rules require you to improve your understanding and use of poetic devices. Structured forms often have devices like rhyme and meter. These devices can help you create more effective imagery, greater flow, and more impact in your piece.
3. The rules will help you expand your lexicon. Have you ever tried to rhyme with the word purple? Often when you are writing to the rules, you will need to find new words to help you express your ideas. The greater your vocabulary and understanding of a word’s meaning, the greater the depth of your writing. (By the way, hirple rhymes with purple, and means “to limp or walk awkwardly.”)
We have even included a section dedicated specifically to digital poetry forms. These are forms that have been cultivated by the spread of social media, and have been crafted as a result of the digital boundaries and “rules” that these platforms create. So if you really want to be a rebel, these are the forms that are shaping the contemporary poetry revolution.
The traditional forms in this chapter are a sample of some of the hundreds of types of poetry that have been used and developed over the last two centuries. Take a look and give them a try!
A collaborative poem is a poem constructed by two or more people. The poem can take any traditional poetic form. There are several types of collaborative poetry, but the most popular are the following:
• Chain: Poets write a single line that is then sent on to another poet who writes another single line, and so on.
• Reflective: Poets choose a topic and write about it from opposing perspectives, resulting in at least two stanzas. An example of this form is writing from a feminine perspective, and then from a masculine perspective.
• Tapestry: Poets write their own version of a poem on a given topic and then attempt to weave the poem into one cohesive work. Normally the poem will have a total of nine lines.
• Switch: A poem switches authorship at a certain line, word, or stanza.
A collaborative poem can have any number of stanzas, and rhyming is optional. The theme is at the poets’ discretion. However, the goal of any collaborative poem is to make the work read as a single cohesive piece of writing, and for the two (or more) voices to ultimately create synergy, resulting in a stronger piece of writing than if it had been written by a single author. To practice, find a poetry buddy, choose a style and topic, and write!
An etheree is a traditional poetry form that consists of ten lines of one, two, three, four, five, six, seven, eight, nine, and finally ten syllables. An etheree can also be reversed and written as ten, nine, eight, seven, six, five, four, three, two, then one syllable. There is a wide scope for creativity here, as you can write more than one verse, and invert your syllable count from one to the next, resulting in a double etheree—one, two, three, four, five, six, seven, eight, nine, ten, ten, nine, eight, seven, six, five, four, three, two, one—through to a triple etheree, quadruple etheree, and so on. The topic is at the discretion of the poet, and rhyming is optional, so all you really have to do to give it a try is make sure your syllables are on count. This is also a great opportunity to crack open a thesaurus for different word options that fit your syllabic needs. Here is an example:
Come, (one syllable)
to me (two syllables)
my dear love. (three syllables)
Drink of my lips (four syllables)
to water your well. (five syllables)
Take of my daily bread (six syllables)
my basket offered freely, (seven syllables)
nourishing no other but you. (eight syllables)
How will I love you? You ask of me. (nine syllables)
With my heart, my all, my everything. (ten syllables)
The lanturne (also known as the lanterne and lantern) is a five-line poem originating from Japan. It has the syllable pattern one, two, three, four, one. Once the poem is written, the words are centered on the line to create the shape of a Japanese lantern, hence the name. Since the number of syllables is an important aspect of this poem, this is a great form to try when you are looking for a challenge or want to keep things short and sweet. Here is an example:
Dawn (one syllable)
draws near (two syllables)
eyes open (three syllables)
to the days’ light (four syllables)
Hope (one syllable)
A limerick is a five-line poem that follows a rhyme scheme of AABBA (this means that the first, second, and fifth lines rhyme with one another, and the third and fourth lines rhyme with one another). Very often, the third and fourth lines of a limerick are shorter than the others and they’re commonly written in anapestic meter (a metrical foot consisting of two unaccented syllables and one accented syllable), but as with all things artistic, these are details that are wide open to interpretation. On top of that, limericks are almost always either funny or crude (often both). The next time you find yourself in a ridiculous situation or hear a funny joke, trying writing a limerick about it. We’ve provided an example:
Once I found fish in the sky (A)
who bubbled as they floated by, (A)
but the second I blinked (B)
they swam down the sink (B)
with garbage disposal on high. (A)
Naani, a traditional Telugu poetry form, means “an expression of one and all.” It was popularized by respected Indian poet Dr. N. Gopi. The naani consists of four lines made up of twenty to twenty-five syllables. A naani doesn’t have any rigid subject or thematic boundaries, but it normally depicts human relationships or current events, so try writing your own naani when you are feeling overwhelmed by bad news, or you are struggling with a close personal relationship. Here is an example:
Loud voices silence the needy (eight syllables)
with condemnation in comb-overs and emails. (twelve syllables)
The world waits, (three syllables)
breath held. (two syllables)
A nonet is a traditional poetry form consisting of nine lines. The first line is nine syllables long. The following lines each decrease by one syllable until the final, ninth line, which is one syllable. Nonets can be on any subject, and rhyming is optional. Here is an example:
He wades into the rhythm of life (nine syllables)
a sailor leaving childhood’s shores (eight syllables)
for a siren’s silver call. (seven syllables)
Floating on melodies (six syllables)
cresting, anchor cast (five syllables)
into the depths (four syllables)
of her salt (three syllables)
covered (two syllables)
skin. (one syllable)
A rondelet is a short French poetry form with a strict structure and rhyming pattern. It consists of one stanza of seven lines, known as a single septet. The lines consist of two rhymes and one refrain in the pattern: AbAabbA. The capital letters (A) are the refrain (a repeated line); the lowercase (a) line rhymes with the uppercase (A) lines; and the lowercase (b) lines rhyme with each other. The refrain has four syllables (“tetra syllabic,” or “dimeter”) and the other lines are twice as long, with eight syllables (“octasyllabic,” or “tetrameter”). The structure of this form is:
Line one: four syllables (A)
Line two: eight syllables (b)
Line three: repeat line one (A)
Line four: eight syllables—rhymes with line one (a)
Line five: eight syllables—rhymes with line two (b)
Line six: eight syllables—rhymes with lines two and five (b)
Line seven: repeat line one (A)
A bit confused? Check out our example:
Why do you call? (A; four syllables)
When you know you do not want me. (b; eight syllables)
Why do you call? (A; four syllables)
You’ve already taken it all. (a; eight syllables)
I ask of you, just let me be (b; eight syllables)
unhand my heart, and set me free. (b; eight syllables)
Why do you call? (A; four syllables)
A triolet consists of one stanza that is eight lines long. It has the rhyme scheme ABaAabAB, in which the first, fourth, and seventh lines are the same, and the second and eighth lines are the same. A repeated line reinforces the main theme of a poem, and can also be used to establish a rhythmic pattern that creates natural ebbs and flows. Here is an example:
Take me back to those yesterdays. (A)
When love and life and I was new (B)
and full of easy, girl-child ways. (a)
Take me back to those yesterdays (A)
before carefree lost to lean-hipped sway (a)
before I gave me, stained-red to you. (b)
Take me back to those yesterdays, (A)
when love and life and I was new. (B)
You cannot write about traditional poetry forms without including the well-known haiku and related Japanese forms. Not only have these forms existed for hundreds of years, but they have an enduring popularity among poets today. These elegant and subtle forms teach you about the importance of construction, word choice, and word efficiency when creating evocative and moving poetry. Guides for these forms could, and do, fill entire books and websites, so what we will share is not exhaustive. Instead, we will give you a brief overview to get you started.
The haiku is the most well-known and popular form of Japanese poetry. Originally these were referred to as hokku, and formed the opening stanza of other forms. Over time they became stand-alone poems. Traditionally, the form was restricted to an objective description of nature that evoked an emotional response. It also contained a reference to one of the seasons. Contemporary haiku, while not restricted thematically, do adhere to certain criteria: three lines in length, with the syllable format: five, seven, five. Haiku should create meaning through comparison by using a phrase or fragment on each line. Here is an example:
When I left Facebook (five syllables)
No one noticed I had gone. (seven syllables)
Do I still exist? (five syllables)
Originally, waka referred to any poem written in Japanese. Tanka, meaning “short poem,” falls under the category of waka. Over time waka and tanka became synonymous with each other and are now commonly referred to as tanka. A tanka is a five-line poem consisting of the syllable pattern: five, seven, five, seven, seven. We’ve included an example:
Little wings broken (five syllables)
clipped by a man’s unkind hands, (seven syllables)
and his unkind words. (five syllables)
But when she finds her feathers, (seven syllables)
her strength, his hold is broken. (seven syllables)
A sedoka is an unrhymed poem composed of two katauta. A katauta is a poem that has three lines with the syllable pattern five, seven, seven, and is able to stand alone as a complete poem. Therefore, a sedoka has the syllable pattern: five, seven, seven; five, seven, seven. In order to be correct, each katauta must be able to be read independently, but also create a cohesive singular work within the sedoka. Often a sedoka will address the same subject from different perspectives. Here is an example:
The light opens eyes (five syllables)
Spring’s glory arrives at dawn, (seven syllables)
she has cloaked the South in green. (seven syllables)
To dreams we are called (five syllables)
Winter’s slumber treads the North (seven syllables)
bringing his blanket of snow. (seven syllables)
Although contemporary poetry forms do not have the same long history as the traditional forms, they pose new outlets for creative expression, and new challenges to exercise and improve your writing skills.
An acrostic poem is where the first letter of each line spells a word. This form can also be manipulated so that the word is spelled using the last letter of each line, or the center letter of each line. The poem can be on any subject, and rhyming is optional. The example here uses the word “poetry”:
Out of the bones of my chest
Eat each
Tender word
Rendering
Yesterday’s love lost.
Blackout and blurred lines poems erase words in existing pieces of writing to create new meanings. Although they are similar, they use different methods to create the final work.
1. Blackout: Blackout poetry, or blackout newspaper poetry, was popularized in 2010 by author and cartoonist Austin Kleon. Many believe that this is a form of erasure poetry, which was first seen as early as 1975. In a blackout poem, the poet takes an existing piece of writing and draws over the text, or select pieces of text, to create a new work. The new work often attempts to subvert the original work and stand in its own context, free from the original piece of writing.
2. Blurred Lines: With the ease of access to photo editing apps, blackout poetry has further evolved into the blurred lines form. Instead of manually deleting words using a marker or pen, the poet uses a photo editing app to blur out words and create a new work. As with a blackout poem, a blurred lines poem also attempts to create an entirely new work free from the context of the original writing.
CONCRETE
A concrete poem involves arranging the words of the poem into a shape to enhance or depict the key theme or meaning of the poem. Although the term concrete is new, there is a long tradition of shaped poems dating back to the third century B.C.E.
This form is dependent on an overlap of the written meaning of the poem and its visual representation, and the visual element is just as (if not more) important as the writing in conveying the poem’s meaning. This form can have any number of stanzas arranged in any shape, and rhyming is optional. Here is an example:
I will wait for you
in our never forever?
you wait for me there
you climbed alone. Will
that gentle climb, that
end of the tunnel,
The light at the
An elfchen (translated as “little eleven”) consists of five lines and a total of eleven words. It is a German form of poetry with the following structure:
First line: one word
Second line: two words
Third line: three words
Fourth line: four words
Fifth line: one word
This simple and short form is one that can teach you to think carefully about how you will use each word to create an image and evoke a response in your reader. They are also addictive to write!
Ink (one word)
wells up (two words)
and springs forth (three words)
staining my fingers with (four words)
poetry. (one word)
Found-object poetry is a collaborative work between writer and reader. Loosely based on found-object art, a found-object poem is first written by the poet, and then left somewhere unexpected to be found by the reader. It is only when the poem is found, and a moment of connection and realization is created, that it becomes a piece of art. Found-object poems can be written in any form, and rhyming is optional. There is no set length; however, short works, such as haiku, are popular. A found-object poem usually has an uplifting and positive theme.
Spoken word is covered in more detail in Part 1, but just to jog your memory, it is performance poetry that involves reciting your poetry aloud, with or without music, and requires tools such as tone, intonation, and body language to create connection. Spoken word poems are written with careful attention to word flow and rhythm, and rhyming is very common. For examples, visit HerHeartPoetry.com and use the search term “spoken word.”
A tautogram uses only words that start with the same letter. It can be on any topic, and rhyming is optional. This form is notoriously hard to write, but really provides a sense of accomplishment when finished. Here is an example:
Five fled fearful, from
fires
fighting
foul foes,
fleeing for freedom.
Five falter.
Five fade.
Five fall.
Five fracture from final farewells.
Forlorn,
frightened,
formerly forsaken,
four finally find foreign favour.
Four finally find familiarity.
Four finally find family.
Finally.
A tetractys consists of at least five lines of one, two, three, four, and ten syllables (a total of twenty syllables) and can also be reversed and written as ten, four, three, two, and one syllable. A tetractys can have more than one verse, but each subsequent verse must be an inverse of the previous one. Thus, a double tetractys would be written: one, two, three, four, ten, ten, four, three, two, one.
Girl (one syllable)
blinded (two syllables)
by longing. (three syllables)
Find your freedom (four syllables)
from wanting, perfection adorns your skin. (ten syllables)
Each of the following digital forms is either free verse, or uses simple rhyme schemes. Refrains (a repeated line) are not common, and meter is usually ignored. There is no set theme for any of the following digital forms; however, traditional themes such as love, loss, longing, heartbreak, and romance are popular. Themes of social justice, activism, and real-world commentary are also becoming more popular. These Contemporary forms are short because of the nature of social media. Swiping takes seconds, so a poem must be able to be read quickly to capture the reader’s attention.
An axiom is a free verse micropoem (usually one to two lines) that is a statement of an accepted or self-evident truth. These poems tap into the emotions and experiences of readers quickly and effectively, evoking a response without relying on a set context, which makes them relatable to a wide range of readers. Here is an example:
until the day you left.
A concrete-image poem is a short work that is edited over a complementary image. In this form, the words and image are discovered in tandem. Much like the use of a title to enhance the overall meaning of a poem, a concrete-image poem uses an image to evoke a specific feeling. Subforms of this genre include: typewriter (poetry produced on paper on a typewriter and then photographed), handwritten (poetry written by hand and then photographed), and “in real life” (poetry printed and then photographed in the poet’s hand against a real-world background).
A line break poem is a micropoem characterized by breaking up single lines into two or more smaller lines to create emphasis. The popularity of the line break form is largely attributed to Rupi Kaur. Here is an example:
The fear in my
soul
It swallows me, all of me,
whole.
A pastiche is a poem that is written in a traditional poetry form, but is published using modern digital techniques. This often includes using a background image. It is likely that your first foray into the world of social media sharing will be this type of poem! You can use eye-catching images to engage online readership. Here is an example of this form:
A swipe poem is separated into parts and placed on separate posts in a social media outlet such as Instagram. This form was created in 2017, and has become more and more popular. To read a swipe poem, the reader must swipe through the posts. The points where the poem is separated are critical: they can create emphasis; provide a physical journey to enhance a changing or evolving narrative; or deliver a surprise ending. Here is an example:
A Twitterature poem is a micropoem of 280 characters or less. The poem must be able to stand alone as a complete work within a single Twitter tweet. Correct spelling and grammar can be sacrificed in favor of the overall “feel” and emotion of the work. We’ve provided an example:
That is not the sound of thunder.
that is the sound that your leaving has left.
An utterance poem (or “snippet”) is a micropoem characterized by its appearance as a snippet of conversation. The poem is taken out of its known context for effect, and often embraces modern clichés. Rather than subverting the conventional, which would be a common goal for most poets, the poet embraces clichés to create a connection. Examples would include common descriptions such as “drowning in your love,” or “she has a galaxy of stars in her eyes.” The purpose of the work is to encourage the reader to find his or her own meaning and experience in the work. This is one of the most popular contemporary digital poetry forms, as it very simply, and effectively, illustrates universal experiences. Here is an example:
You can’t see it,
but my strength
lies in my softness.
It can be very easy to rely on free verse as your poetry stock-in-trade. However, writing a poem in a specific form, particularly a traditional one, can help make you a better poet, as it will allow you to practice and perfect your construction skills, grow your vocabulary, improve your word choice and word use, and further develop your ability to evoke a response in your reader. Don’t be scared to play with form, and at the very least give each one a try. We are sure that there will be at least one form that you will want to write again and again. These exercises are also a great antidote to writer’s block! Learn more about this classic writing curse in the next chapter.
