“I'm a failed poet,” wrote twentieth-century novelist and short-story writer William Faulkner, author of Light in August and winner of the Nobel Prize for literature. Faulkner also said it might be true that all novelists start out wanting to write poetry and when they find they can't, they try the short story. Then failing that, they finally try writing novels. Regardless of a writer’s interest or genre, there’s much to learn from the precision, imagery and persuasiveness of poetry.
Like most people, writers don't have a lot of spare time, and when they do, they may not naturally gravitate toward poetry because they have other projects that take precedence. And for the writer immersed in prose, a poem can feel too much like an alien landscape, an inaccessible world. Yet, poems often have an elemental, Edenic quality that invites readers in and bids them stay a while.
On particularly harried days, writers can find the clean, spare language of poetry to be a balm. Yet, poems can also provide lessons and examples. For instance, one evocative noun can replace a string of adjectives and create a clear picture that opens the door of story for readers. A writer who makes deliberate word choices says, in essence, "I want you to know what this is about, who the people in this story are."
This isn't the same as giving away the entire premise or plot upfront. Instead, it creates an atmosphere of trust that engages readers and encourages them to read on.
Poets often say that poetry is all about imagery. At first blush, may sound like poets craft their pieces only for the senses, not for substance. But when an image accurately conveys what the poet intended, substance is implied.
The corollary for the writer is a well-grounded scene that reveals character and advances plot, preferably both at once. Even misleading scenes, when done intentionally and well, have their place. Where would mysteries and thrillers and thrillers be without them?
One surprising aspect of poetry that's just as useful to prose writers is the artful ability to persuade. Small, subtle words like "so" and "for" and "since", unobtrusive in their commonality, are woven into a poem’s fabric to draw the reader to the poet's perspective. From there, the message conveyed through language is conjured by words that rise gently from the page to form a picture in the reader's mind.
And for poets and prose writers alike, if there is no image, there is no scene, and if there is no scene there is no story.
Often accused of being inaccessible, poetry isn't always understandable. Neither are people, or life. Yet, even when understanding doesn't arise, images still appear, with the intentionality of the chosen words giving those images substance.
Whether we read or write poems, prose or both, less is often more, and in such simplicity one often finds rest.
To see a world in a grain of sand,
And a heaven in a wild flower,
Hold
infinity in the palm of your hand,
And eternity in an hour.
"Auguries of
Innocence," William Blake
Happy writing! Adele Annesi is an award-winning author, editor and teacher. For questions on writing, email Adele Annesi. Adele’s new novel is What She Takes Away (Bordighera Press)
