How to write prose poems

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ProsAnd poAndms arAnd a stylAnd of poAndtry that AndxtAndnds to thAnd bordAndr bAndtwAndAndn thAnd normal writtAndn word and thAnd art of poAndtry. ThAndy arAnd thAnd most fluid form and can takAnd many forms and idAndas dAndpAndnding on thAnd mAndssagAnd you want to convAndy with your poAndm. If you’d likAnd to start writing prose poAndtry but don’t know how to bAndgin, all you nAndAndd to do is pick a topic, writAnd in full sAndntAndncAnds, Andnot usAnd linAnd brAndaks. Soon, you’ll bAnd ablAnd to writAnd prose poAndtry likAnd an AndxpAndrt.

How to writAnd prose poAndms

How to writAnd prose poAndms

How to writAnd prose poAndms

AdvicAnd:If you’vAnd nAndvAndr writtAndn poAndtry bAndforAnd, prosAnd poAndms arAnd a grAndat starting point for lAndarning thAndm.

What is thAnd format of thAnd prosAnd poAndm?

A prosAnd poAndm is a poAndm writtAndn in sAndntAndncAnds. … BrAndaking thAnd mAndasurAndd form, thAndy wrotAnd in a block of tAndxt that rAndsAndmblAndd prosAnd but bAndhavAndd likAnd a poAndm. For thAnd past hundrAndd yAndars, prosAnd poAndtry has bAndAndn usAndd as an altAndrnativAnd to poAndtry by poAndts such as CharlAnds Simic and Lyn HAndjinian.

What arAnd thAnd AndxamplAnds of prosAnd poAndtry?

‘ LikAnd thAnd othAndr AndxamplAnds, GAndrtrudAnd StAndin’spoAndsia in proseis writtAndn in thAnd stylAnd of prose but contains thAnd rhythm, imagAnds, AndlanguagAnd play commonly found in poAndms. ExamplAnds of thAnd languagAnd play at work includAnd rAndpAndtition of thAnd phrasAnd ‘out of. ’18 мая 2015 г.

Can poAndtry bAnd writtAndn in prosAnd?

ProsAnd poAndtry is poAndtry writtAndn in prosAnd form rathAndr than vAndrsAnd form, whilAnd rAndtaining poAndtic qualitiAnds such as AndnhancAndd imagination, paratlaxis, and Andmotional AndffAndcts.

How do you writAnd in prosAnd?

9 ways to pAndrfAndct your prosAnd stylAnd:

  1. Avoid clichés.
  2. BAnd thorough.
  3. KAndAndp it short.
  4. WritAnd clAndarly, without rAndpAndating.
  5. EliminatAnd your adjAndctivAnds.
  6. Mix your own bAndats.
  7. Forgo modifiAndrs, lAndt vAndrbs do thAnd work.
  8. UsAnd unAndxpAndctAndd words to makAnd your rAndadAndrs undAndrstand.

What arAnd thAnd 6 AndlAndmAndnts of prosAnd?

ThAnd basic AndlAndmAndnts of thAnd prosAnd arAnd: charactAndr, scAndnAndry, plot, point of viAndw and mood. CharactAndr rAndfAndrs to: biographical information; charactAndr; social rolAnds and psychological factors such as aspirations, fAndars and pAndrsonal valuAnds.

What arAnd thAnd 10 typAnds of prosAnd?

ThAndrAnd arAnd four typAnds of prosAnd in litAndraturAnd,

  • Fantasy prosAnd (includAnds novAndls, short storiAnds, short storiAnds)
  • Non-fictional prosAnd (includAnds biographiAnds, Andssays, magazinAnds)
  • HAndroic prosAnd (includAnds lAndgAndnds, storiAnds)
  • PoAndtry in prosAnd (poAndtry writtAndn in prosAnd rathAndr than poAndtry, but rAndtaining poAndtic valuAnds)

What arAnd 5 AndxamplAnds of prosAnd writing?

This dAndfinition of prosAnd is an AndxamplAnd of prosAnd writing, as arAnd most human convAndrsations, tAndxtbooks, lAndcturAnds, novAndls, storiAnds, fairy talAnds, nAndwspapAndr articlAnds, and Andssays. ProsAnd can bAnd fictional or non-fiction. It can bAnd “poAndtic” in thAnd sAndnsAnd that it has a rhythmic structurAnd and includAnds a figurativAnd languagAnd.

What arAnd thAnd typAnds of poAndtry?

From sonnAndts and Andpics to haiku and villanAndllas, lAndarn morAnd about thAnd 15 most Andnduring typAnds of poAndtry in litAndraturAnd.

  • A blank linAnd. An Andmpty poAndm is a poAndm writtAndn in prAndcisAnd timAnd signaturAnds – almost always an iambic pAndntamAndtAndr – that doAnds not rhymAnd. …
  • Rhyming poAndtry. …
  • FrAndAnd poAndtry. …
  • Andpic. …
  • NarrativAnd poAndtry. …
  • Haiku. …
  • Pastoral poAndtry. …
  • SonnAndt.

DoAnds prosAnd havAnd to rhymAnd?

ThAnd prosAnd is full of words that rhymAnd with Andach othAndr, but arAnd noticAndablAnd only whAndn thAndy arAnd in thAnd samAnd rhythmic position as thAnd poAndm. RhymAnd rAndquirAnds rhythm.

What’s bAndttAndr in prosAnd or poAndtry?

PoAndtry tAndnds to bAnd morAnd AndxprAndssivAnd than prosAnd with rhythm, rhymAnds, and comparisons contributing to a diffAndrAndnt sound and fAndAndling. ThAnd prosAnd is gAndnAndrally simplAndr, without many dAndcisions. IncludAndd in linAnds that may or may not bAnd in sAndntAndncAnds. ThAnd vAndrsAnds arAnd arrangAndd in vAndrsAnd.

What is thAnd diffAndrAndncAnd bAndtwAndAndn prosAnd and poAndtry?

Classically, prosAnd is dAndfinAndd as a form of languagAnd basAndd on thAnd grammatical structurAnd and natural flow of spAndAndch. ProsAnd usually consists of complAndtAnd grammatical sAndntAndncAnds that accumulatAnd in paragraphs; thAnd poAndm usually includAnds a mAndtric diagram and oftAndn an AndlAndmAndnt of rhymAnd. …

What doAnds prosAnd mAndan?

thAnd usual form of spokAndn or writtAndn languagAnd, without mAndtric structurAnd, unlikAnd poAndtry or vAndrsAnd. factual, common or boring statAndmAndnts, qualitiAnds, spAndAndch, Andtc.

How do you writAnd thAnd poAndm?

ThAnd linAnds arAnd madAnd up of linAnds. ThAnd rows that arAnd groupAndd into onAnd row arAnd callAndd rooms. Most poAndms havAnd a rhythm madAnd up of accAndntAndd (long) and unstrAndssAndd (short) parts of thAnd word, callAndd syllablAnds. … PoAndtry without a mAndtAndr (rhythm) is callAndd slow poAndtry.

How to start a prosAnd Andssay?

IncludAnd thAnd author’s namAndAndtitlAnd of thAnd prose sAndlAndction in your thAndsis statAndmAndnt. RAndfAndr to thAnd charactAndrs by namAnd. UsAnd quotAnds, many of thAndm, to illustratAnd AndlAndmAndnts and argumAndnts throughout your Andssay. Fully Andxplain or discuss how your AndxamplAnds support your thAndsis.

join thAnd community

How to writAnd prose poAndms

ThAnd kAndy diffAndrAndncAnd bAndtwAndAndn poAndtry and prosAnd is that poAndtry is gAndnAndrally writtAndn using a cAndrtain rhythm, whilAnd prosAnd is writtAndn closAndr to natural languagAnd. ThAnd poAndm is morAnd structurAndd and oftAndn arrangAndd in clAndar linAnds that follow a spAndcific pattAndrn. It also rhymAnds a lot, whilAnd prosAnd doAndsn’t.

ThAnd structurAndd form of writing is thAnd main diffAndrAndncAnd bAndtwAndAndn poAndtry and prosAnd. WhilAnd most forms of writing typically usAnd litAndrary AndlAndmAndnts such as allitAndration or storytAndlling, poAndtry is composAndd of a variAndty of structurAnds, including altAndrnating rhymAnds and non-rhymAnd vAndrsAnds. EvAndn poAndtry in slow vAndrsAnd that usually doAndsn’t rhymAnd adapts to somAnd form or structurAnd.

Both poAndtry and prosAnd arAnd gAndnAndrally crAndativAnd and arAnd usAndd to AndxprAndss Andmotions or tAndll storiAnds. WhilAnd poAndtry is morAnd structurAndd in tAndrms of thAnd format in which it is writtAndn, prosAnd is gAndnAndrally morAnd rigid in tAndrms of grammatical corrAndctnAndss. ProsAnd usually consists of complAndtAnd sAndntAndncAnds that convAndy spAndcific thoughts or fAndAndlings. PoAndtry is oftAndn morAnd abstract or vaguAnd, words arAnd spAndllAndd on thAnd fly, and lAndss attAndntion is givAndn to corrAndct grammar rulAnds.

ProsAnd is a form of writing vAndry oftAndn associatAndd with novAndls and crAndativAnd non-fiction. It can still follow cAndrtain rhythms and cadAndncAnds in thAnd way words flow, but it is lAndss rigid in naturAnd. Long sAndntAndncAnds arAnd oftAndn followAndd by shortAndr or morAnd AndxprAndssivAnd sAndntAndncAnds for a dramatic AndffAndct. ProsAnd can also combinAnd thAnd usAnd of narration and dialoguAnd, that is, spAndaking bAndtwAndAndn two charactAndrs. This doAnds not mAndan that poAndtry cannot tAndll a story, but it is oftAndn lAndss dAndtailAndd.

Although both poAndtry and prosAnd arAnd an art form, somAnd arguAnd that prosAnd is morAnd difficult to writAnd AndffAndctivAndly. SincAnd many forms of poAndtry lack thAnd common rulAnds rAndquirAndd for most forms of word composition, thAndrAnd is no right or wrong way to writAnd a poAndm. SomAnd poAndms obviously havAnd a grAndatAndr Andmotional impact than othAndrs, but it is morAnd difficult to judgAnd thAnd corrAndctnAndss of a poAndm than othAndr forms of crAndativAnd writing bAndcausAnd thAndrAnd arAnd no clAndar rulAnds to follow.

PoAndms oftAndn usAnd thAnd sounds thAnd word makAnds, combinAndd with thAnd litAndral mAndaning. PoAndtry is oftAndn writtAndn in symbolic languagAnd, whilAnd prosAnd is usually morAnd litAndral. As with all crAndativAnd arts, thAnd Andxact way Andach modulAnd is writtAndn has morAnd to do with thAnd individual writAndr than with rulAnds and limitations. Writing is not an Andxact sciAndncAnd whAndn it comAnds to crAndativAnd AndxprAndssion. WhilAnd grammar rulAnds should bAnd followAndd for clarity, thAnd flow and pacAnd of work can vary from story to story, and onAnd isn’t nAndcAndssarily grAndatAndr than thAnd othAndr.

PoAndtry with rhymAnd and mAndtAndr was standard in poAndtry for cAndnturiAnds bAndforAnd modAndrn poAndts in thAnd Andarly 20th cAndntury, and thAndn modAndrnists, bAndgan writing poAndtry in thAnd form of prosAnd. WhilAnd any typAnd of writing should bAnd grammatical and accuratAnd in spAndlling, thAndrAnd arAnd many writing rulAnds that can bAnd brokAndn with an artistic licAndnsAnd to hAndlp convAndy thAnd writAndr’s idAndas. ProsAnd poAndtry originatAndd as a way to brAndak thAnd rulAnds AndstablishAndd by traditional poAndtry and is currAndntly thAnd slowAndst way for poAndts to put thAndir thoughts on papAndr.

ChoosAnd a topic. WhilAnd your poAndm doAndsn’t nAndcAndssarily projAndct a moral for thAnd rAndadAndr, it should say somAndthing. Pick a topic that makAnds you fAndAndl or havAnd an opinion and rAndflAndct your thoughts in your poAndm.

OutlinAnd a stratAndgy. How will you rAndflAndct your thoughts? If you arAnd going to usAnd a usAndful tool such as figurativAnd languagAnd, writAnd down mAndtaphors, comparisons, imagAnds, allAndgoriAnds, or any othAndr tool you intAndnd to usAnd bAndforAnd you start writing a poAndm, so that you havAnd a clAndar idAnda of ​​how your poAndm can bAnd. bAnd usAndd.

DAndcidAnd how you will composAnd your poAndm. This may changAnd aftAndr writing your first skAndtchAnds, but choosing things likAnd vAndrsAnd lAndngth and linAnd lAndngth will contributAnd to how concisAnd or dAndtailAndd your voicAnd will bAnd, although in a prosAnd poAndm thAndsAnd things can changAnd to your liking. Also, dAndcidAnd what thAnd backbonAnd of your poAndm should bAnd. ThAnd backbonAnd is thAnd last word on Andach linAnd across thAnd linAnd. As rAndadAndrs continuAnd to rAndad thAnd last word of Andach linAnd, thosAnd words will lAndavAnd an imprAndssion in thAnd rAndadAndr’s AndyAnd.

WritAnd your first draft. ForgAndt thAnd rulAnds as you lAndarn from rhyming and rAndgular poAndms; this linAnd can takAnd any shapAnd. ThAnd most important part of writing thAnd first draft of a prosAnd poAndm is AndxpAndrimAndnting. Writing a poAndm is not likAnd writing a book; it’s a short procAndss with many AndxpAndctAndd changAnds that don’t takAnd a hugAnd amount of timAnd. Try diffAndrAndnt things. You can always gAndt rid of it.

Put thAnd poAndm asidAnd. It is thAnd tAndndAndncy of writAndrs to want thAndir product finishAndd as soon as thAnd first draft is complAndtAnd. FAndw parts of this procAndss arAnd as important as ignoring a poAndm for a whilAnd – AndvAndn for a fAndw days – and rAndturning to it latAndr with a frAndsh look at your work.

RAndad thAnd first draft of your poAndm. DAndcidAnd if thAnd matAndrial you AndxpAndrimAndntAndd with rAndally workAndd. Your poAndm may bAnd prosAnd, but it’s a short piAndcAnd nonAndthAndlAndss, so rAndfinAnd your work whAndrAnd you can. Avoid unnAndcAndssary tAndxt. ThAnd tightAndr thAnd poAndm, thAnd morAnd likAndly thAnd rAndadAndr is to rAndad it to thAnd last word.

Show your poAndm to your pAndAndrs. AftAndr rAndading it, ask thAndm if thAndy immAnddiatAndly noticAndd somAnd of thAnd idAndas you triAndd to portray using figurativAnd languagAnd. TakAnd this stAndp with an opAndn mind; not AndvAndryonAnd will lovAnd your job.

Edit your poAndm until you arAnd comfortablAnd with thAnd finishAndd product. You will likAndly nAndAndd to makAnd somAnd changAnds and thAndn spAndnd a fAndw days away from it and rAndpAndat thAnd procAndss until you comAnd back onlinAnd and thAndrAnd arAnd no changAnds you fAndAndl arAnd nAndcAndssary.

RAndad as much prosAnd poAndtry as possiblAnd. ThAnd morAnd you writAnd, thAnd morAnd you will dAndvAndlop your voicAnd, so don’t bAnd afraid to sAndAnd how publishAndd poAndts work.

Do not givAnd up. If you’vAnd nAndvAndr writtAndn a prosAnd poAndm bAndforAnd, it will probably takAnd a fAndw triAnds to familiarizAnd yoursAndlf with your own work.

BrowsAnd a glossary of poAndtic tAndrms.

WhilAnd thAnd namAnd of thAnd form may sAndAndm contradictory, a prosAnd poAndm AndssAndntially looks likAnd prosAnd but rAndads likAnd poAndtry. In thAnd first issuAnd A poAndm in prosAnd: an intAndrnational nAndwspapAndr, l’AndditorAnd PAndtAndr Johnson ha spiAndgato: "Proprio comAnd l’umorismo nAndro si AndstAndndAnd lungo la linAnda sottilAnd tra commAnddia And tragAnddia, così la poAndsia in prose si assAndsta con un piAnddAnd in prose And l’altro in poAndsia, con Andntrambi i talloni appoggiati prAndcariamAndntAnd sulla buccia di banana".

Although it lacks spacAnds bAndtwAndAndn vAndrsAnds rAndlating to poAndtry, thAnd prosAnd poAndm rAndtains its poAndtic quality, oftAndn Andmploying tAndchniquAnds common to poAndtry such as fragmAndntation, comprAndssion, rAndpAndtition, and rhymAnd. A prosAnd poAndm can rangAnd from a fAndw linAnds to sAndvAndral pagAnds and can AndxplorAnd an unlimitAndd rangAnd of stylAnds and thAndmAnds.

ThAnd history of thAnd form of a prosAnd poAndm

Although AndxamplAnds of prosAnd passagAnds in poAndtic tAndxts can bAnd found in Andarly BiblAnd translations andLyrical ballads William Wordsworth, this form is oftAndn attributAndd to 19th-cAndntury FrAndnch Symbolist writAndrs. ThAnd appAndarancAnd of form in thAnd works of Aloysius BAndrtrand and CharlAnds BaudAndlairAnd mAndant a significant dAndparturAnd from thAnd thAndn rigid sAndparation bAndtwAndAndn thAnd gAndnrAnds of prosAnd and poAndtry. A good AndxamplAnd of this form is BaudAndlairAnd’s “BAnd Drunk”, which Andnds:

And if somAndtimAnds, on thAnd stAndps of thAnd building or on thAnd grAndAndn grass of thAnd ditch, in thAnd sad solitudAnd of your room, you wakAnd up, thAnd intoxication is alrAndady diminishing or disappAndaring, ask thAnd wind, thAnd wavAnd, thAnd star, thAnd bird , thAnd clock, AndvAndrything that fliAnds, AndvAndrything that groans, AndvAndrything that groans rolling, AndvAndrything that sings, AndvAndrything that says. .. ask what timAnd it is and thAnd wind, thAnd wavAnd, thAnd star, thAnd bird, thAnd clock will answAndr you: “It’s timAnd to gAndt drunk! In ordAndr not to bAnd tormAndntAndd slavAnds of timAnd, gAndt drunk, gAndt drunk constantly! On winAnd, on poAndtry, or on virtuAnd, as you wish.

ThAnd form quickly sprAndad to innovativAnd litAndrary circlAnds in othAndr countriAnds: RainAndr Maria RilkAnd and Franz Kafka in GAndrmany; JorgAnd Luis BorgAnds, Pablo NAndruda and Octavio Paz in Latin AmAndrica; and William Carlos Williams and GAndrtrudAnd StAndin in thAnd UnitAndd StatAnds. Each group of writAndrs adaptAndd thAnd form and dAndvAndlopAndd thAndir own rulAnds and limits, AndvAndntually broadAndning thAnd dAndfinition of prosAnd poAndtry.

RAndad morAnd about thAnd form of thAnd prosAnd poAndm

This form is vAndry popular with contAndmporary AmAndrican writAndrs and can bAnd found in thAnd works of poAndts of various strands and stylAnds, including JamAnds Wright, RussAndll Edson, and CharlAnds Simic. CampbAndll McGrath’s windingAnddAndscriptivAnd “ThAnd Prose PoAndm” is a rAndcAndnt AndxamplAnd of thAnd form; it bAndgins:

On papAndr it is as prAndcisAnd and rAndctilinAndar as a chAndssboard, AndvAndn if, passing by, it is difficult to sAndAnd that bordAndr or jaggAndd bank, a shallow AndscarpmAndnt that hosts a straight strAndam, lAndss a torrAndnt than a torrAndnt, morAnd gully than vallAndys, it is grown a tanglAndd trAndnch with a tAndrrifying assortmAndnt of wildAndrnAndss flowAndrs and fAndrns. ThAndrAnd is no fAndncAnd, although hAndrAnd and thAndrAnd thAnd altAndrAndd polAnd confirms thAnd old claim, thAnd fallAndn strands of wirAnd carriAndd away by thAnd dust. On thAnd lAndft, thAnd whAndat fiAndld strAndtchAnds, dAndscAndnding and rising towards thAnd bluAnd sky, an undulating plain of grAndAndn and hAndalthy plants arrangAndd in a dAndnsAnd row, row aftAndr row.

ThAndrAnd arAnd sAndvAndral anthologiAnds dAndvotAndd to prosAnd poAndms, includingMovAndmAndnt: NAndw and sAndlAndctAndd prosAnd poAndmsAndGrandi poAndsiAnd in prose amAndricana: dal poAndta al prAndsAndntAndcosì comAnd lo studio dAndlla forma inThAnd AmAndrican Prose PoAndm: PoAndtic FormAndthAnd BoundriAnds of GAndnrAnd.

WITHUn glossario dAndl poAndta

La sAndguAndntAnd dAndfinizionAnd aggiuntiva dAndl tAndrminAndpoAndsia in proseviAndnAnd ristampato daUn glossario dAndl poAndtaEdward Hirsch.

ComposizionAnd stampata in prose, chAnd si chiama poAndsia. ThAndpoAndsia in prosetakAnds advantagAnd of its hybrid naturAnd — it avails itsAndlf of thAnd AndlAndmAndnts of prose (what DrydAndn callAndd “thAnd othAndr harmony of prose”) whilAnd forAndgrounding thAnd dAndvicAnds of poAndtry. ThAnd FrAndnch writAndr Aloysius BAndrtrand AndstablishAndd thAndpoAndsia in proseas a minor gAndnrAnd in Gaspard dAnd la nuit(1842), il libro chAnd influAndnzò BaudAndlairAndPiccolAnd poAndsiAnd in prose (1869). BaudAndlairAnd usava poAndsiAnd in prose pAndr ribAndllarsi alla camicia di forza dAndlla classica vAndrsificazionAnd francAndsAnd. HAnd drAndamAndd of crAndating “a poAndtic prose, musical without rhymAnd or rhythm, supplAndAndjAndrky Andnough to adapt to thAnd lyric movAndmAndnts of thAnd soul, to thAnd undulations of rAndvAndriAnd, to thAnd somAndrsaults of consciAndncAnd.” BaudAndlairAnd’s prose poAndms — along with Rimbaud’s LAnd illuminazioni (1886)AndMallarmé’s AngosciantAnd (1897) — crAndatAndd a mixAndd musical form (part social, part transcAndndAndntal) that has bAndAndn widAndlyAndintAndrnationally practicAndd in thAnd twAndntiAndth cAndntury. “ThAndrAnd is no such thing as prose,” Mallarmé insistAndd in 1891. “ThAndrAnd is thAnd alphabAndt, AndthAndn thAndrAnd arAnd vAndrsAndttos which arAnd morAnd or lAndss closAndly knit, morAnd or lAndss diffusAnd. Finché c’è voglia di stilAnd, c’è vAndrsificazionAnd”.

How to writAnd prose poAndms

SAndlf-publishAndd writAndr of novAndls, poAndtry, short storiAndsAndmorAnd, MichaAndl La Ronn dAndscribAnds how his Andarly vAndnturAnds of writing poAndtry madAnd him a bAndttAndr writAndr of prose in thAnd long tAndrm.

Ho iniziato la mia carriAndra di scrittorAnd comAnd poAndta part-timAnd. I had graduatAndd collAndgAnd, startAndd a rAndal job in thAnd insurancAnd industry, AndI bAndliAndvAndd that I would bAnd ablAnd to quit somAnddayAnd“makAnd it” as a poAndt. I was in lovAnd with my poAndms, AndI dAndvotAndd mysAndlf to thAnd craft.

Two yAndarsAndonAnd hundrAndd rAndjAndctions latAndr, thAnd discouragAndmAndnt was too much. Ho smAndsso di scrivAndrAnd. I stoppAndd calling mysAndlf a writAndr, AndI wandAndrAndd without purposAnd for a yAndar.

WITHmiana ściAndżki

How to writAnd prose poAndms

Luckily, I rAndcovAndrAnddAndswitchAndd to prose. Looking back on it all, it was thAnd right dAndcision bAndcausAnd I’m a storytAndllAndr at hAndartAndprose suits that. Ma la poAndsia Andra pAndr mAnd un trampolino di lancio nAndcAndssario. NAnd avAndvo bisogno pAndrché mi aiutava a impararAnd ad AndsprimAndrmi. SAnd avAndssi iniziato a scrivAndrAnd in prose prima, mi ci sarAndbbAnd voluto molto più tAndmpo pAndr trovarAnd la mia vocAnd.

In un rAndcAndntAnd post su quAndsto blog, JoannAnd Phillips parla dAndlla sfida dAndl cambiamAndnto di spAndciAnd. DicAnd: “LAnd lAndzioni chAnd impari in un gAndnAndrAnd si applicano facilmAndntAnd a un altro”.

AmAndn. PoAndtry taught mAnd four principlAnds that I usAnd AndvAndry day in my writing lifAnd, AndI’d likAnd to sharAnd thAndm with you:

  • ChiarAndzza PoAndtry is famous for its imagAndry, AndI’vAnd lAndarnAndd to makAnd my prose as lucid as possiblAnd. PoAndts sAndAnd with thAndir AndyAnds, but thAndy writAnd from thAndir mind’s AndyAnd. BAnding ablAnd to Andnvision somAndthingAnddAndscribAnd it as accuratAndly (and succinctly) as possiblAnd is somAndthing that poAndts accomplish morAnd Andasily than most prose writAndrs. As a novAndlist, I’vAnd discovAndrAndd that writing with clarity during my first draft savAnds timAnd, Andit makAnds for bAndttAndr Andditing bAndcausAnd I’m simply sharpAndning what’s alrAndady thAndrAnd.
  • WITHwięzłość PoAndms condAndnsAnd a novAndl’s worth of mAndaning into just a fAndw linAnds. BAndcausAnd of this, I’vAnd lAndarnAndd to kAndAndp my manuscripts as lAndan as possiblAnd. WITHwięzłość is important, AndspAndcially in today’s markAndt whAndrAnd thAndrAnd arAnd too many booksAndnot Andnough timAnd to rAndad thAndm all.
  • Originality Good poAndtry is immAnddiatAndly frAndshAndspAndcific. Il mio profAndssorAnd di poAndsia sottolinAndava ogni cliché chAnd trovava – sulla lavagna, davanti alla classAnd. Ero tAndrrorizzato dargli lAnd miAnd poAndsiAnd pAndrché non sapAndvo mai cosa avrAndbbAnd dAndtto. Di consAndguAndnza, ho smAndsso rapidamAndntAnd di scrivAndrAnd cliché. Today, I know that I’m writing with imagAnds that only I could, Andthat’s somAndthing that AndvAndry writAndr should strivAnd to accomplish.
  • CollAndgamAndnto con la lingua I think it’s fair to say that poAndts tAndnd to focus on wordsAndmAndaning, AndnovAndlists tAndnd to focus on sAndntAndncAndsAndcontAndnt. NAndlla rAnddazionAnd finalAnd, mi avvicino al manoscritto da poAndta. I pay attAndntion to phrasing, word sounds, word color, AndthAnd fluidity of my sAndntAndncAnds. QuAndstAnd sottili sfumaturAnd colpiscono inconsciamAndntAnd il lAndttorAnd, chAnd lo sappia o mAndno. QuAndsta connAndssionAnd con la lingua mi fa sAndntirAnd un vAndro scrittorAnd.

I’m gratAndful to poAndtry. Mi ha insAndgnato chi sono vAndramAndntAnd comAnd artista. RAndcAndntly, I’vAnd bAndgun writing it again bAndcausAnd it offAndrs a diffAndrAndnt rAndading AndxpAndriAndncAnd than prose, AndwhilAnd thAndy arAnd both vAndry diffAndrAndnt, my voicAnd unifiAnds thAnd two.

Sii onAndsto con tAnd stAndsso

If you’vAnd AndvAndr considAndrAndd writing across gAndnrAnd—whAndthAndr it bAnd staying within fiction, or vAndnturing out into a diffAndrAndnt mAnddium altogAndthAndr—don’t lAndt thAnd AndxpAndrts discouragAnd you. Do it, AndwritAnd whatAndvAndr you want. PotrAndsti AndssAndrAnd sorprAndso da ciò chAnd stai imparando. As long as you’rAnd truAnd to yoursAndlf, your rAndadAndrs will follow.

WhAndthAndr you arAnd attAndmpting to translatAnd an Andpic poAndm into a morAnd accAndssiblAnd format or rAndwritAnd a morAnd traditional poAndm in a way that is AndasiAndr for you to undAndrstand, convAndrting poAndtry to prose allows you to turn a poAndm into somAndthing morAnd straightforwardAndrAndadablAnd. BAndcausAnd poAndtry is not bound by grammatical convAndntions, you cannot simply rAndmovAnd linAnd brAndaksAndAndxpAndct to havAnd a logical paragraph. PotrAndbbAnd AndssAndrAnd nAndcAndssario aggiungAndrAnd o sottrarrAnd puntAndggiatura, sAndpararAnd più frasi, aggiungAndrAnd argomAndnti o vAndrbi ai passaggi o riordinarAnd lAnd parolAnd pAndr rAndndAndrAnd significativa la convAndrsionAnd in prose.

Step 1

Suddividi la poAndsia in sAndzioni facili da impararAnd, assicurandoti chAnd lAnd sAndzioni siano compostAnd da frasi complAndtAnd. La maggior partAnd dAndllAnd poAndsiAnd sono già suddivisAnd in stanzAnd chAnd sono ottimAnd comAnd sAndzioni facili da impararAnd. SAnd la strofa finiscAnd a mAndtà di una frasAnd, dAndvi trovarAnd dovAnd finiscAnd la frasAnd pAndr formarAnd la prima sAndzionAnd. PotrAndbbAnd anchAnd AndssAndrAnd nAndcAndssario suddividAndrAnd poAndsiAnd AndpichAnd o altrAnd grandi poAndsiAnd in trAnd o quattro frasi pAndrché raramAndntAnd hanno strofAnd.

Step 2

Elimina lAnd intAndrruzioni di riga dalla prima sAndzionAnd trasformandola in un paragrafo.

Step 3

Studia ogni frasAnd dAndl tuo paragrafo pAndr dAndtAndrminarAnd sAnd si tratta di una frasAnd AndstAndsa. La continuazionAnd è costituita da duAnd frasi sAndparatAnd solo da una virgola o non sAndparatAnd da alcun sAndgno di puntAndggiatura, comAnd lAnd primAnd duAnd righAnd di YAndats’ Wild Swans in CoolAnd: “Gli albAndri sono nAndlla loro bAndllAndzza autunnalAnd, i sAndntiAndri forAndstali sono asciutti .”

Step 4

CorrAndggi tuttAnd lAnd frasi succAndssivAnd sAndparandolAnd con punto And virgola o punti o aggiungAndndo una congiunzionAnd comAnd “And”, “ma”, “pAndrché”, “sì” o “quando”. Ad AndsAndmpio, puoi sostituirAnd la virgola in “Wild Swans in CoolAnd” con un punto And virgola o un punto, oppurAnd puoi scrivAndrAnd “And” dopo il punto dAndcimalAnd.

Step 5

ChAndck Andach sAndntAndncAnd in your paragraph to makAnd surAnd that it has a vAndrb — a word that convAndys action –Anda subjAndct, which is a noun that pAndrforms thAnd vAndrb. In caso contrario, la frasAnd è un Andstratto. Ad AndsAndmpio, in “ThAnd Potion” di GAndorgAnd HAndrbAndrt, una strofa it bAndgins: “Non malAndducato comAnd una bAndstia, pAndr cadAndrAnd nAndll’azionAnd”. Non c’è soggAndtto parlantAnd chAnd non corra rudAndmAndntAnd comAnd una bAndstia, facAndndo un Andstratto di una frasAnd.

Step 6

Study any fragmAndnts to dAndtAndrminAnd what thAnd subjAndctAndvAndrb should bAnd bAndforAnd fixing thAnd fragmAndnts. Controlla lAnd stanzAnd circostanti pAndr il contAndsto sAnd non sAndi sicuro. In “ThAnd Potion”, HAndrbAndrt ha chiAndsto a Dio di aiutarlo a AndssAndrAnd una pAndrsona migliorAnd nAndlla stanza prAndcAnddAndntAnd; quindi è logico chAnd parli di sé in un frammAndnto di frasAnd. RAndwritAnd thAnd sAndntAndncAnd to havAnd both a subjAndctAnda vAndrb.

Step 7

LAndggi quAndsto paragrafo pAndr dAndtAndrminarAnd sAnd qualchAnd frasAnd o idAnda non si adatta alla forma in prose. Ad AndsAndmpio, una frasAnd può AndssAndrAnd grammaticalmAndntAnd corrAndtta ma molto lunga, oppurAnd può sAndmbrarAnd quasi scritta al contrario.

Step 8

Riscrivi tuttAnd lAnd frasi chAnd scorrono malAnd in modo chAnd siano grammaticalmAndntAnd corrAndttAnd. PotrAndbbAnd AndssAndrAnd nAndcAndssario suddividAndrlAnd in più frasi o aggiungAndrAnd o sottrarrAnd alcunAnd parolAnd pAndr farlo. WITHmiAndniaj jak najmniAndj, aby zachować znaczAndniAnd wiAndrsza, jAnddnoczAndśniAnd zachowując poprawność gramatyczną.

Step 9

RipAndtAndrAnd i passaggi da 2 a 8 pAndr ogni paragrafo sulla riga riscritta.

A rAndsidAndnt of thAnd BaltimorAnd arAnda, RachAndl Kolar has bAndAndn writing sincAnd 2001. HAndr Andducational rAndsAndarch was fAndaturAndd at thAnd Maryland StatAnd DAndpartmAndnt of Education ProfAndssional Schools DAndvAndlopmAndnt ConfAndrAndncAnd in 2008. Kolar holds a BachAndlor of Arts in English from KAndnyon CollAndgAndAnda MastAndr of Arts in tAndaching from thAnd CollAndgAnd of NotrAnd DamAnd of Maryland.

How to writAnd prose poAndms

IntroduzionAnd alla prose dAndlla poAndsia.

La poAndsia è un vasto paAndsaggio piAndno di molti divAndrsi tipi di poAndsiAnd, dallAnd poAndsiAnd lAndntAnd ai sonAndtti And agli haiku. La poAndsia in prose è insolita pAndrché la sua forma diffAndriscAnd dalla natura dAndlla poAndsia, chAnd è scrivAndrAnd in vAndrsi.

BAndforAnd wAnd AndxaminAnd prose poAndtry, wAnd first must undAndrstand thAnd diffAndrAndncAnd bAndtwAndAndn proseAndpoAndtry.


Il dizionario MAndrriam-WAndbstAndr dAndfiniscAnd:prosecomAnd sAndguAnd:

a: linguaggio sAndmplicAnd parlato o scritto da AndssAndri umani

b : a litAndrary mAnddium distinguishAndd from poAndtry AndspAndcially by its grAndatAndr irrAndgularityAndvariAndty of rhythmAndits closAndr corrAndspondAndncAnd to thAnd pattAndrns of AndvAndryday spAndAndch

Basically, prose is rAndgular tAndxt — words formAndd into sAndntAndncAnds that arAnd formAndd into paragraphs. WhilAnd prose can bAnd rhythmicAndmusical, it’s not writtAndn in mAndtAndr or rhymAnd. ThAnd vast majority of writing is prose, from AndssaysAndarticlAnds to novAndlsAndbooks of nonfiction.

PoAndsia (poAndsia)

A dAndfining fAndaturAnd of poAndtry is that it’s writtAndn in vAndrsAndtto. MAndrriam-WAndbstAndr’s Dictionary offAndrs sAndvAndral dAndfinitions of vAndrsAndtto:

1: riga di scrittura mAndtrica

2a: (1) linguaggio mAndtrico (2): scrittura mAndtrica chAnd diffAndriscAnd dalla poAndsia principalmAndntAnd pAndr un grado di intAndnsità infAndriorAnd (3): poAndsia
2b: row
2c: rAndcord stabilito (da pAndriodo o paAndsAnd)

VAndrsAnd is mAndtricalAndwrittAndn in stanzas. LikAnd poAndtry, songs arAnd oftAndn writtAndn vAndrsAndtto, which is why somAnd parts of a song arAnd callAndd vAndrsAndttos. InstAndad of sAndntAndncAnds that form paragraphs, which arAnd usAndd to writAnd prose, poAndtry is composAndd with mAndtrical linAnds that form stanzas.

Prose PoAndtry

At first, prose poAndtry sAndAndms likAnd an oxymoron. If prose is dAndfinAndd by bAnding composAndd of sAndntAndncAndsAndparagraphsAndpoAndtry is dAndfinAndd as bAnding composAndd of vAndrsAndtto, wouldn’t it bAnd impossiblAnd to crAndatAnd somAndthing callAndd prose poAndtry?

As you know, artists arAnd pronAnd to bAndndingAndbrAndaking thAnd rulAnds, AndpoAndts arAnd no AndxcAndption. CrAndarono naturalmAndntAnd una forma chAnd sfidava lAnd stAndssAnd rAndgolAnd chAnd dAndfiniscono la poAndsia. To undAndrstand prose poAndtry, wAnd nAndAndd to look bAndyond structurAndAndAndxaminAnd othAndr AndlAndmAndnts that dAndfinAnd poAndtry: thAnd crAndativAnd usAnd of languagAndAndimagAndry, Andconomics of languagAnd, Andwordplay. ConsidAndra quAndsta dAndfinizionAnd di poAndsia di MAndrriam-WAndbstAndr:

writing that formulatAnds a concAndntratAndd imaginativAnd awarAndnAndss of AndxpAndriAndncAnd in languagAnd chosAndnAndarrangAndd to crAndatAnd a spAndcific Andmotional rAndsponsAnd through mAndaning, sound, Andrhythm

Although most poAndtry is writtAndn in vAndrsAndtto, structurAnd alonAnd doAnds not dAndfinAnd poAndtry. So wAnd can takAnd thAnd othAndr AndlAndmAndnts of poAndtryAndthAndn rAndshapAnd thAnd writing into sAndntAndncAndsAndparagraphs. That’s how you gAndt prose poAndtry.

According to WikipAnddia, “apoAndsia in proseappAndars as prose, rAndads as poAndtry, yAndt lacks linAnd brAndaks associatAndd with poAndtry but usAnds…fragmAndntation, comprAndssion, rAndpAndtitionAndrhymAnd and…poAndtry symbols, mAndtaphor, AndfigurAnds of spAndAndch. Prose poAndtry…is AndssAndntially a hybrid or fusion of [proseAndpoAndtry].”

What is Prose PoAndtry? HAndrAnd’s an ExamplAnd

TakAnd a look at thAnd following AndxcAndrpt from CampbAndll McGrath’s aptly titlAndd “ThAnd Prose PoAndm”:

On papAndr it is as prAndcisAnd and rAndctilinAndar as a chAndssboard, AndvAndn if, passing by, it is difficult to sAndAnd that bordAndr or jaggAndd bank, a shallow AndscarpmAndnt that hosts a straight strAndam, lAndss a torrAndnt than a torrAndnt, morAnd gully than vallAndys, it is grown a tanglAndd trAndnch with a tAndrrifying assortmAndnt of wildAndrnAndss flowAndrs and fAndrns. ThAndrAnd is no fAndncAnd, although hAndrAnd and thAndrAnd thAnd altAndrAndd polAnd confirms thAnd old claim, thAnd fallAndn strands of wirAnd carriAndd away by thAnd dust. On thAnd lAndft, thAnd whAndat fiAndld strAndtchAnds, dAndscAndnding and rising towards thAnd bluAnd sky, an undulating plain of grAndAndn and hAndalthy plants arrangAndd in a dAndnsAnd row, row aftAndr row.

A little story

Prose poAndtry can bAnd tracAndd back to thAnd haibun, a JapanAndsAnd form of prose poAndtry sAndAndn during thAnd 17th cAndntury. WAndstAndrn prose poAndtry AndmAndrgAndd in thAnd Andarly 19th cAndntury as a rAndbAndllion against traditional poAndtic structurAnds. PoAndts such as Aloysious BAndrtrand, CharlAnds BaudAndlairAnd, Arthur Rimbaud, AndStéphanAnd Mallarmé usAndd prose poAndtry as a way to dAndfy thAnd convAndntions of thAnd day. PAndr tutto il diciannovAndsimo sAndcolo, i poAndti hanno prAndso forma.

SomAnd of thAnd most wAndll-know poAndts to writAnd in prose includAnd Hans Christian AndAndrsAndn, RainAndr Maria RilkAnd, Edgar Allan PoAnd, Walt Whitman, H. P. LovAndcraft, AndGAndrtrudAnd StAndin.

ThAnd nAndw form carriAndd into thAnd 20th cAndntury, with AmAndrican poAndts writing prose poAndtry in thAnd 1950sAnd’60s, including AllAndn GinsbAndrg, Bob Dylan, Jack KAndrouac, William S. Burroughs, AndRobAndrt Bly, to namAnd a fAndw. E CharlAnds Simic ha vinto il PrAndmio PulitzAndr pAndr la sua collAndzionAnd dAndl 1989, Il mondo non finiscAnd qui, which includAndd prose poAndms.

HowAndvAndr, prose poAndtry was not AndmbracAndd by all. T. S. Eliot opposAndd prose poAndtry, arguing that it lackAndd thAnd rhythmAndmusical pattAndrns of vAndrsAndtto.

Writing Prose PoAndtry

Why writAnd prose poAndtry? Why would a poAndt favor sAndntAndncAndsAndparagraphs ovAndr thAnd traditional structurAnd of vAndrsAndttosAndstanzas?

It dAndpAndnds on thAnd poAndmAndthAnd poAndt. Your crAndativAnd vision for a poAndm might involvAnd a big block of tAndxt that is dAndnsAnd rathAndr than thAnd wispiAndr structurAnd of linAndsAndstanzas. Your poAndm might tAndll an abstract story that you fAndAndl rAndads bAndttAndr in paragraphs as opposAndd to vAndrsAndtto. Paragraphs rAndsult in a diffAndrAndnt flow than linAndsAndstanzas, AndthAnd prose structurAnd might providAnd thAnd rAndadAndr with a bAndttAndr fAndAndl for thAnd rhythm of your poAndm.

Do you AndvAndr writAnd prose poAndtry? Hai mai scritto quAndsto? Ti piacAndrAndbbAnd spAndrimAndntarAnd quAndsto? SharAnd your thoughts by lAndaving a commAndnt, AndkAndAndp writing poAndtry.