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Section 4: Creation

You have your idea and your pen in your hand? Great! Now, while you are creating that masterwork, you might want to consider a few things.

96. Make your poems work.
97. Rhymes do not have to be perfect.
98. “Scansion doesn’t have to be perfect, either.”
99. Fit the rhythm and rhyme to the mood.
100. Pay attention to flow control.
101. Stimulate the readers’ senses.
102. Be consistent. Keep your details straight.
103. Present, develop, summarize.
104. Restrain yourself.
105. Be concrete, not abstract or obscure.
106. Be fresh. Avoid Clichés
107. Consider poem clusters.
108. Name your characters.
109. Establish and separate points of view.
110. Use classical or current allusions.
111. Charcoal, Pastels, and Oils
112. For songs, use repetition and nonsense syllables as thinking space.
113. One short phrase repeated over and over seldom makes an exciting chorus.
114. “A poem is like a baby.”
115. Just write it down.
116. Your opinion counts.
117. Conflict is the meat of a story.
118. Relax, and don’t be too artsy!
119. “You catch more flies with honey than with vinegar.”
120. “A song doesn’t have to rhyme, but it does need rhythm.”
121. Use a dummy melody.
122. Try writing in a non-specific gender.
123. Play with tenses, voices, and points of view.
124. Make every word count.
125. Have an alphabet visible.
126. “Every verse should have its own raison d’être.”
127. “If you use an awkward rhyme, put the forced rhyme first.”
128. If you’re stuck for a rhyme, try place names and proper nouns.
129. Add to the beginning.
130. Work after you want to quit.
131. Be implicit.
132. Go metaphysical. Go philosophical. Transcend!
133. Reverse consonants from line to line to bind the poem together.
134. Listen to the sounds of words.
135. Break it up! Space is the Poet’s Best Friend.
136. Mind your thees and thous.
137. “Write in the first person, but not about yourself.”
138. Build a wide bridge to your audience.
139. If you sound like Seuss, give your lines more juice!
140. If you sound like Seuss, make your rhymes loose.
141. If you sound like Seuss, give your rhyme a goose.
142. If you sound like Seuss, make your meter more obtuse.
143. Avoid non-standard contractions.
144. Keep a unified voice, unless you have a good reason.

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