The poetry technique of tiny

With the Internet speed of self-publishing, a poet’s rush to get published can quickly result in a lengthy poem that forgets the reader and says nothing new. It’s sort of like a one-sided, long-winded conversation – often boring to the other person.

If you even suspect this might be true of your poems, my advice is to write tiny.

Read haiku and other mini-poems.

Find out if there’s a form to follow.

Stay within the lines or syllabic count of that particular pattern.

This may sound confining but can actually be freeing as the last two years of poetry-writing have shown me. i.e., After a while, poems begin coming to you in 17 syllables.

Actually, the same is true if you start writing, in say, iambic pentameter or any other pattern. However, to stay on our present topic about the importance of little things in writing and revising, consider the senryu.

A senryu has the same 3-line pattern as the haiku with 5/7/5 syllables on each respective line. The difference between the two syllabic forms of poetry is in the content and purpose.

A haiku draws a quick sketch of a seasonal scene, often with a touch of humor.

A senryu presents a quick thought or insight.

This morning, for example, when I took my coffee onto the deck overlooking our little lake, this senryu came to mind:

Is it You I see?

Maybe. Probably. I don’t know.  

God is everywhere.

I went inside, wrote down those words before I forgot, then this revised version occurred to me:

Is it You I see?

Maybe. Probably. I’m not sure.

God is everywhere.

If, like most people, you’ve ever struggled with faith or moments of doubt, that poem might speak to you. So the reader could well have a part in the poem.

The capitalization of “You” is a small thing but alerts the reader to a conversation with God. The change between “I don’t know” and “I’m not sure” is small too, but weighty with possibility. For instance, if you take out that teeny tiny period ending the second line, you have an expression of doubt:

“I’m not sure God is everywhere.”

Yet another tiny change can turn the poem into a call-and-response or debate with oneself, if you simply add a line space:

Is it You I see?

Maybe. Probably. I’m not sure.

God is everywhere.

Then the small addition of italics for the last line can create further emphasis and possibly clarify the debate between doubt and faith. It might even highlight the fact that God's presence is beyond measure.

Is it You I see?

Maybe. Probably. I’m not sure.

God is everywhere.

Mary Harwell Sayler, ©2020

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Puncturing punctuation in poetry

Some poets, including Pulitzer prized ones, believe punctuation weighs down a poem, while others overdo a good thing with a comma at the end of every line whether or not it’s needed.

Recently, though, I’ve noticed inconsistent (dare I say “erratic”) use of punctuation, for instance, when a poet omits it entirely, line after line, then suddenly adds a period at the end of a verse, giving the TA-DA flourish of a finale.

Since a number of poets seem to be doing similar gyrations with punctuation or its lack thereof, I suppose this could be a trend (albeit a generally ineffectual one.) More likely, I fear, Grammar School (yes, that grammar) is as passé as its namesake.

In case that’s sadly true, some of you might have opted for the no-punctuation-poem out of desperation, rather than artistic license. So, in hopes of helping you to find grammatical help on the spot as needed, I’ve been looking at English grammar websites and found two I especially like. If you know of others you recommend, let me know, and I’ll add those hotlinks, too, to the Resourses page of my blog.

Another option is to get acquainted with the impressive editorial features on Microsoft Word (or similar word processing software) that quickly check for errors in grammar, syntax, spelling, and punctuation then let you know how to correct such problems before your work sees print.

Why bother? As you’ve probably heard me say more than once:

• Punctuation guides your readers in reading your poem as you intended.

• Conversely, punctuating a poem in a weird way can punctuate imperfections, show snags in syntax (sentence structure), and baffle your readers.

With punctuation used as the traffic signals in your poems, however, your readers will be more apt to slow down with each comma and pause at each period, which just might help them to stop, look, and listen to what you and your poem have to say.

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© 2012, Mary Sayler

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Punctuate your poetry

Unless you have a particular reason for changing rules in written English, plain old punctuation will clarify your meaning and guide readers into comprehending what they read. This especially relieves readers who think they “don’t get” poetry. Besides, if your poems make them feel smart, understood, remembered, and acknowledged, they’ll be apt to read your work again and maybe buy your book!

We’ve talked about punctuation before but never discussed the meaning of the word, which, according to one of Webster’s tomes, tells us that punctuate stems from the Latin word punctus, which translates as point.

You can make a point with punctuation for emphasis.

You can interrupt a flow of words, for instance, when a political speech is punctuated with cheers or jeers.

You can regulate the pacing of your poem with timely use of punctual punctuation (pun intended.)

As you and your readers read a poem aloud, punctuation marks carry you along from line to line with occasional pauses, stops, rests, or points of acceleration. Since the thought of flowing traffic makes a good comparison, here’s a quick overview of punctuation options:

Comma, caution light to slow reading without a full stop

Colon: intersection to stop and look for what’s coming

Dash – pedestrian crosswalk

Period. red light. red light. stop. stop. stop.


© 2012, Mary Sayler

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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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