How can a mashup lead to a sonnet like Tom C. Hunley’s? See the cool exercise that can make it happen.
Elise Paschen shows us how it’s all about teleutons if you want your mysterious possibility in your sestina.
When your ode is also a sonnet. Ron Wallace shows how a golden form poem decided to play with expectations (and intentions).
When you begin a poem, do you ever feel like a particular form is calling? Isaac Willis shares why he chose the sonnet for this architect love poem…
What if you want to match a physical sensation to a poetic form? Maureen E. Doallas shows you how, in this pantoum from ‘How to Write a Form Poem.’
How can you discover your poetic habits and create new ones that change your poetic music? Poet David Wright’s cello-based sonnet shows the way.
What happens when you begin to erase parts of a text? Can poetry rise to the surface? Katie Manning made it so, with the book of Ecclesiastes.
What is your region inspiring you to write? For poet Chip Livingston, the shores of Uruguay simply begged to speak through a pantoum.
What if you have no words for a layered, mysterious experience? The ghazal might be just your form. It was for Dheepa Maturi, who speaks through dance.
What can the villanelle offer a poet? Ashley M. Jones has a suggestion—and a container for obsession or sorrow.
Why write a pantoum? Poet Marjorie Maddox shares her reasons, on the wings of poetry and song.
Why write a sestina? Direct from Florida, poet Celia Lisset Alvarez gives you a few fabulous reasons.
How best to write tragedy? Poet David K. Wheeler suggests the soft sorrow of the pantoum.