Writing poetry can be intimidating, especially if you aim to write great poetry. After reading it, a good poem is something you might remember, but a great poem can make you feel the emotions it wants to share.
“Poetry should surprise by a fine excess and not by singularity—it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance.” – John Keats.
For the most part, famous poets did not write poetry so that the world would think they could write great poems. They simply wrote about what moved them, made them think, or inspired them.
It is evident with the acceptance of a broadening variety of technological art forms evolving into and assisting the poets to indulge ‘other’ shapes and styles, that poetry has lost much of its structured appeal; and conceivably this is because it is ‘hard work’ to have to always try and fathom its meanings, never mind abide by its requirements for stylistic alignments.
So, why is it harder to expose ourselves through poetry as opposed to when we write prose, or speak the spoken word? What does poetry reach and touch and describe that the rest does not, (except maybe through the exceptional sensory creation of music)?
“Genuine poetry can communicate before it is understood.” – T.S. Eliot.
Writing poetry, whether it is contemporary poetry, free verse, or haiku, is an art form. When people decide to read poetry, they often do so to be seen, understood, or feel something. That is what good poetry does. Reading a remarkable poem aloud can emotionally move you, even the one you wrote. Your voice may waver, get stronger, smaller, or change altogether due to how it affects you and makes you feel.
Read – What Makes a Good Poem (Part 1) by Meckson Germanus Kaboga (Tanzania)
But then, how do you balance message delivery with language prowess?
1) Pay attention to word choice
You do not want to use cheap words to describe big moments or feelings. You want to use words that will tell the reader exactly what you feel. Do not say “sad” when you can say “in despair.” Do not say “angry” when you can say “enraged.” Using descriptive language and the right words will immediately put you on the right track in writing poetry that would be deemed “good” or even “great” to the reader.
One of the ways to achieve that, as suggested by different poets, is writing what comes to mind and then ask yourself the question: How can I say it better? Do you have a weak line or string of words? Can you better describe the setting? Could you add more feeling to your words? Did you choose the appropriate words to convey the correct emotion and idea?
However, do not confuse this advice with trying to up the intellectual quality of your poetry. Some of the great poets do not use big or complicated words. They simply use the right words to get the message across.
2) Go for a strong emotional reaction
Most people remember the things that made them react emotionally. We can name the movie that makes us cry. We can name the song that makes us feel great when experiencing a slump at work or going through a break-up. Readers feel a similar connection to poems that create a reaction of intense emotion. Few people remember the poems they were forced to read in school when they learned about things like iambic pentameter and how many syllables are in a haiku. A great poem is less about the structure and more about how it made you feel. Remember! When writing poetry, as a poet, your job is to translate feelings or thoughts onto a page in the same way that a novelist would, but in fewer words and in a poet’s unique voice.
3) Use poetic devices
These devices can help to elevate your poems and your writing in general, as long as it is done sparingly enough not to seem lazy. The use of similes and metaphors is a great way to tell a story within your writing that the reader can perfectly understand because it has been written in ways that they can relate to and are familiar with. Of course, avoid overusing them, but do not also shy away from them. If the metaphor or simile is something that you would really say, then go for it. If you are putting into your poem just to add content or words to it, then it loses its validity, and the reader sees it as lazy.
Read – Structured Poetry: Villanelle by Chipo Chama (Zambia)
4) Rhythm matters
You can have all sorts of symbolism in your poetry, full of meaning and imagery, but none of it will matter if the person reading it cannot read it well. With all of the hard work you put into the poem, the meanings, lines, and imagery, you can have a solid idea of what you want your audience to feel. However, if you do not establish a rhythm to your work, then the lines do not read properly, the moment is ruined, and the meaning is lost.
You need to think of how you want the poem to sound when read. Think of how the audience will read it. Setting a pace and cadence for how your work is supposed to be read will help you in many ways. Most importantly, it will resonate better with the audience and help them remember your poem.
Finally, as suggested by many famous poets and authors
5) Read more to write better
Finally, as suggested by many famous poets and authors, read more to write better. If you truly wish to write poetry that is remembered, well-received, and considered “great,” the very best advice may be to read more poetry. Think of the type of poetry that appeals to you most and read as much of it as you can. Adversely, read the sorts of poetry you have no interest in writing. This will give you an idea of what is out there, and you can gain some valuable knowledge and skills and be an overall more well-rounded reader by doing so. It is evident that the best writers of poetry and prose are avid readers. Never assume that just because you write poems means you should not also read them. Doing so will shorten your horizons and cripple you as a creator and artist.
Tom, also known as Patrick Nzabonimpa, is a talented writer and poet who originates from Kigali, Rwanda. He is not only dedicated to his writing but also serves as the Country Coordinator of Writers Space Africa, Rwanda Chapter (WSA-R), where he actively supports aspiring writers and poets and promotes literary activities. Tom’s impressive works have been published in numerous literary magazines and anthologies, including WSA Magazine, Brittle Paper, and Twaweza anthology, among others. When he’s not immersed in his creative projects, Tom can often be found savouring a cup of tea.
