All Broken Up & other line breaks

One advantage of traditional forms of poetry hinges on the swing of a line. Instead of having to decide where and when to break each line of a poem, the pattern of your chosen form makes that decision for you.

For example, a sonnet written in iambic pentameter will be measured (meter) as five feet with iambs predominating. At the end of those five, the line breaks, and the next line of iambic pentameter begins with the same pattern repeated for 14 rhyming lines.

If you want to know more about the sonnet form, save this page and click the link below to an earlier post on the Poetry Editor blog. If you don't care, skip through the pink stuff!

Sonnets traditionally require poets to use rhythmic rhymes and argue nicely in fourteen lines

If you’re not sure what iambs and other poetic feet consist of but want to know, visit these discussions where I aimed to make the explanations as easy as possible.

Scan A Poem. Get The Picture.

Scan a poem. Catch the beat. Change the rhythm as you revise.

Accentual syllabic or metered verse

Unlike traditional forms of poetry with their consistent patterns, free verse is free of meter and free of other requirements, such as line length.

That sounds airy-light and, yeah, freeing, but this means you have to make a decision with every line. Sometimes that’s a hard call; sometimes not. Either way, line breaks can make or break a free verse poem.

Is this something to fret about as you write? No! Worry is more confining than any poetry pattern, so let poems flow. Then go back later to revise, breaking lines here or there or wherever your eyes and ears desire.

As you read each poem and revision aloud, keep your ear attuned to its musicality.

As you read each poem by sight, see if you find any evidence of a unique pattern to emphasize and make the poem pop.

In the following poem, for example, I played with line breaks on the word “break.” Then, during the revision process, I experimented with variations of “break” and “broke” and, mainly, had fun.

Play with words. Play around with line breaks. Try something new, and have a good time with your poems and your readers.


All Broken Up!
by Mary Harwell Sayler

Hey! What’s going on tonight?
My fingernail broke.
A bird broke into flight,
and, oh! The mirror broke!
Will it be all right?
Then someone breaks
the silence.

I went to bed closing
my eyes to these sights –
hoping and praying the breaks
might not last,
then morning broke
daybreak
into dawn-light,
and I happily hopped down to break-
fast.


©2014, Mary Harwell Sayler

…

Scan a poem. Catch the beat. Change the rhythm as you revise.

Scansion sounds scary to some poets, but scanning a poem just means seeing how to measure each line.

Across many centuries and continents, poets have found various methods of measurement such as counting syllables or accents or a combination of the two. Often, a well-tuned ear hears the beat as a poem is being written, but most of us count on fine-tuning the rhythm as we revise.

Practice will perfect the accuracy of your ear, but your eyes can also help you to catch the beat. How? As you scan a poem, you find feet to use for measuring or to discard as you would any footwear that doesn’t quite fit.

So let's get on our toes, poetically, and take a look at our feet:

In traditional, metered English verse, the most common feet come nicely shaped in pairs. With two syllables each, you find the upbeat iamb (ta-DAH), downbeat trochee (HO hum), stress-free pyrrhic (blah-blah), and double-stress spondee (ALL RIGHT!)

Once you recognize those simple two-syllable foot patterns, you’re ready to play with three-syllable feet such as the dactyl (HEAV-en-ly) and anapest (as-we-SEE.)

You might also look at those classical styles as having these designs:

Iamb = no stress then stress = _ X

Trochee = accent then no accent = X _

Pyrrhic = no stress or accent = _ _

Spondee = accent on both syllables = XX

Dactyl = accent followed by two unstressed syllables = X _ _

Anapest = two unstressed syllables ending on an accent = _ _ X

What does that info do for you? It puts your whole body to work!

Those common feet train your eyes to see what your ears hear as your mouth emphasizes each accented syllable and your hand thumps out each beat.

You then put that information to use as you revise a poem, changing words around or reworking lines until you have the number of feet needed for the particular pattern of your choice.

Say, for example, you want to write a classically patterned sonnet in iambic pentameter. To do this, you traditionally need five feet of iambs on each line:

_ X | _ X | _ X | _ X | _ X |

As you can see, the same old beat looks as boring as it sounds! So now, to help you vary the rhythm, your mind and eye can show you where to replace at least one iambic foot with a trochee or spondee. As you scan the poem and see a good spot to substitute one foot for another, you do not totally rely on your poetic ear but on other senses as well.

But what if you don’t want to write traditional metered poetry? What if you want to write free verse where line breaks make or break the poem? Will scansion help you then? It can.

Scanning the lines to find the feet (or lack thereof!) can show you where to change the beat if the rhythm seems “off” in almost any type of poem. For example, scansion can be helpful in revising a prose poem, even though your main method of measuring consists of those same little blocks or paragraphs you use in writing prose. You can also use scansion to see where the rhythm got off-beat in your free verse. For that style of poetry, most poets just keep experimenting and breaking lines in various places until they like the look and sound and feel of the poem, but scansion can help too.

Look at this line, for example, then read the words aloud:

His VOICE/ HELD SAD/ness = _ X | X X | _

See how the accents huddle together in the middle with no beat at either end? That could give you the sound effect you want, but if not, mix it up at bit. For example:

SADness/ HUGGED his/ VOICE = X _ | X _ | X

See the difference? If you read both versions aloud, you will hear a rhythmic difference too, but either way can work in a poem, depending on the sound effect you want.

Typically, a poetic ear prefers one sound or rhythm over another, but your eye can help you to discern what needs to be changed and where. So, inform all of your senses instead of relying on just one. Scan your poems. Play with meter. Order the reader-friendly e-books shown below.




(c) 2011, Mary Harwell Sayler, all rights reserved.

Scan A Poem. Get The Picture.

If you have a computer, you probably have a printer that scans photographs. Whether you took the photos or someone else did, the point of scanning is to get the picture. That’s what scansion (aka scanning a poem) does too. It shows your eye what your poetic ear can hear.

When you read a poem aloud, you can hear yourself give more emphasis to some syllables than others. Usually your voice will skip over “business words” such as prepositions (to, of, on) and articles (a, an, the), but you just naturally place more stress on the strong verbs and nouns. Those nouns provide pictures for your poems, and then the active verbs move the pictures along.

Let’s take, for example, the last half of the above sentence and use capital letters to note the accents or stressed syllables:

and ACTive VERBS MOVE the PICtures aLONG

Listening for those accents or beats is what you do when you scan. Then breaking the line into groups of two to three syllable creates the poetic meter known as feet. To define:

An iamb is two syllables with the emphasis on the second: and ACT/ tive VERBS/ aLONG/.

The opposite of an iamb is the trochee, which also has two syllables but with the emphasis on the first:

MOVE the/ PICtures/

So put it all together to scan the sentence, and you’ll see three iambs and two trochees. Since that adds up to five feet and the Latin for “five” is “penta,” the line is pentameter.

If a line of pentameter has more trochees than anything else, you’d have trochaic pentameter. In this line, however, the iambs outnumber the trochees, so presto! You have the famous iambic pentameter.

Even though that sentence was not particularly poetic, you get the picture. Scansion shows you the emphasis or beat that you hear as you read a poem aloud. So your eyes can now see what your ears hear.

What difference does that make? Maybe none! If, however, your poem loses its rhythm or seems to have no musicality as you read aloud, then scan the poem. See where it loses the beat.

For instance, you might find that you have three or more unstressed syllables together. Those feet have names, too, but the point is, they show you that you need to tighten the beat. How? Change words around, or find new words that have the emphasis where you want.


Mary Harwell Sayler, poet-writer