Drawing Lines

A poet-peer once told me that many poets who ask “What do you think about my poems?” do not actually want feedback, but a pat on the back. This came as a surprise but also explained why poets often don't want to pay even a small fee for a professional opinion. Since I want my poetry to be the very best I can offer, however, I didn't really understand what my friend was saying.

Then, recently, the publisher of my upcoming book of children’s poems liked the preliminary drawings I sent and gave me the go-ahead to sketch illustrations in pen and ink, something I always meant to do but never did. After completing a few drawings, I showed one of a cute little animal to a family member, who said, “The tail should be longer.”

Suddenly I understood! I'd wanted to hear, “Wow!” or “Nice job,” but instead I got advice. Although I felt like saying “Bummer!” I said “Okay,” then quickly went back to my desk, later realizing I'd learned two very important points:

1. Even the most helpful suggestion can sting. Eventually, I saw that, yes, I did need to elongate that little tail, which, yes, made the artwork better, so I’m thankful for that now. However, I have no plans to be a professional artist, which makes me less inclined to receive remarks I might consider a criticism.

2. Our attitude toward feedback depends on where we draw the line in our work. For example, if I see myself as a person who likes to write poems I might react negatively to suggestions and just want some praise or a hug. If, however, I see myself as a poet – or a person on the way to becoming a poet, I’ll be more apt to receive and apply helpful suggestions.

Where do you draw the line?

© 2014, Mary Sayler



Christian Poet’s Guide to Writing Poetry, Kindle e-book version of the poetry home study course Mary wrote and used for years with poets and poetry students

Punctuation and grammar provide poets and writers with language tools of the writing trade

Poets from countries outside the U.S. have recently been requesting critiques more often than American poets, which usually brings up correct usage of English grammar and punctuation. Both of these crucial aspects of language have been touched on in previous articles on The Poetry Editor blog such as “Revising your poetry can be a smooth move” and “That Punctual Punctuation (Anyway) How” but to recap a few important reasons:

• Punctuation guides readers through a poem.
• Punctuation and good grammar assist understanding.
• Punctuating a poem in a weird way punctuates imperfections and weirdness.
• Well-woven syntax (sentence structure) threads each line with artistry.
• Awkward or unnatural syntax confuses and loses a reader.

Almost every poet wants to stand out or be different, but breaking rules, peppering and assaulting poems with periods and commas, or twisting syntax into pretzels seldom has the desired effect. Most often, freshness comes in other ways as poets decide to:

• Be observant.
• Be clear.
• Be accurate.
• Be highly visual.
• Keep looking to find a fresh picture, perspective, insight, or comparison.
• Keep listening to the music by reading aloud each version of each poem.

Being consistent makes an effective choice too. For instance, some poets put a comma at the end of each line whether it’s needed or not, or they omit punctuation along each line then suddenly add a period at the end of a verse. Since a number of poets seem to be doing the same thing, this might be a trend (albeit ineffectual), or maybe the poet doesn't know normal punctuation works well, or maybe poets in general no longer learn about punctuation and grammar in grammar school.

Regardless of the reasons, poets and writers really need to fill or refill their toolbox of primary writing aids. If, for instance, you do not know how to apply punctuation or grind out grammar in appropriate times and places, you can improve your language skills by finding out what is correct and what is not. How?

Poets and writers with Microsoft Word software can:

Go to “File” then “Options” then “Proofing” and check the boxes needed.

Or call up a file you have saved in Word. Go to the “Review” tab on the menu bar, then click and activate “ABC – Spelling & Grammar.”

Your best options, however, include these suggestions:

Get a grammar textbook, preferably one written for grammar school kids! Why? Well, why not make learning as easy as possible?

Visit such sites as:

Chicago Manual of Style online

Guide to Grammar and Writing (college level)

Online Resources for Writers (from the University of Richmond)

Purdue Online Writing Lab

Studying proper use of grammar and punctuation might take some time, but then you will know the information and be able to use it in innumerable ways. Even more, though, as a poet or writer, your writing deserves whatever you can give – not tricks or weird maneuvers but skillful use of the tools of your trade.


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© 2011, Mary Harwell Sayler
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Interrogate Your Poems

To edit and evaluate your own poetry more objectively, interrogate your poems, not as you write, but as you revise. Ask:

• Do I have a new perspective or unusual treatment of a theme or topic?

• Did I explore something that will interest most people?

• Did I do my research and double-check all facts?

• Did I accurately present information, observations, and comparisons?

• Does the poem say what it wants to say in words, images, symbols, or ideas that most readers can relate to and envision?

• Is the poem honest?

• Do the lines have credible conflict, counterpoint, juxtaposition, or anything else that shows a push-pull tension?
• Does the poem have distinctive language and an interesting voice?

• Do my word choices bring to mind interesting connotations and sounds?

• Did I emphasize certain syllables or rhymes for a special effect?

• Does the poem have musicality that can be heard by reading aloud?

• Is the overall tone in keeping with the theme and subject?

• Does the poem hint of humor rather than mere wit or cleverness?

• Does anything in the poem need correcting?

• Does the form fit the idea or story?

• Do the line-breaks work well in my free verse?

• What would happen if I break the lines differently?

• Does my traditional poem nicely fit a traditional form?

• If not, does each variation in the pattern have a purpose?

• Does it work?

• Did I take any risks to keep the poem from clicking shut at the end?

• Does the length and style suit the needs of most poetry journals?

• Will readers want to read this poem again and again?

• Would I love this poem if someone else had written it?



Mary Sayler, poet-writer ...