Transcribe five sentences that you find interesting from a book or a magazine or newspaper article. Send the first half of each to a friend via e-mail and ask him or her to finish the sentence and send it back to you. Use the responses, or portions of them, as the beginnings of poem.
The Time Is Now
The Time Is Now offers a weekly writing prompt (we’ll post a poetry prompt on Tuesdays, a fiction prompt on Wednesdays, and a creative nonfiction prompt on Thursdays) to help you stay committed to your writing practice throughout the year. We also offer a selection of books on writing—both the newly published and the classics—that we recommend you check out for inspiration, plus advice and insight on the writing process from the authors profiled in Poets & Writers Magazine. And don’t miss Writers Recommend, which includes books, art, music, writing prompts, films—anything and everything—that has inspired other authors in their writing.
Find a map—of the Earth, the United States, or your home state or city—or visit Google Maps, pick a town at random, and write a poem about daybreak in that specific location, inventing any pertinent details.
The late English poet Philip Larkin was born eighty-nine years ago this month. Begin a poem using the first lines of Larkin's oft-studied poem "Church Going," from The Less Deceived (Marvell Press, 1955): "Once I am sure there's nothing going on / I step inside, letting the door thud shut."
Approach a poem (or revise an existing poem) as if you were writing a fable. Keep a third-person point of view. Address the anthropomorphic qualities of the objects you introduce. Invite an animal or creature into the poem. Allow an invisible force to alter time and space. Instead of ending with a lesson or moral, try closing the poem with a question.
Focus this week on collecting images, drawing on as wide a range of sources as possible. Cull family albums for interesting photos, visit online archives of images, cut out images from magazines or newspapers, take photos of buildings, billboards, birds—anything that strikes you as you make your way through each day. At the end of the week, assemble these on a table or tape them to a wall in your work space. Write a poem inspired by this collage.
Make a list of the names of your family members and friends. Use all of them to create a poem. Try writing a tiny letter to each name, using free association to link each name with another word, or describing each briefly as if it were a character or object.
Experiment with form, creating an upcycled poetic object, by writing a poem using found materials.
Over the weekend, the American Museum of Natural History opened a yearlong exhibition of scientific photographs made using state-of-the-art technologies. If you're not in New York City to take in the show in person, check out some of the images online (Wired has a collection of favorites) and write a poem examining the life of the elegant forms and miniature worlds captured in exquisite detail.
Choose a poem—one of your favorites or one chosen randomly from a book. Scan its meter, marking the stressed and unstressed syllables of each word. (Read a definition of scansion from the Poetry Foundation). Write a poem, using the same meter and number of lines.
Set a timer for five minutes and freewrite, putting pen to paper and transcribing everything that comes to mind without stopping until the timer goes off. Review what you’ve written and circle any phrases, images, words that appeal to you. Using those fragments, freewrite again for five minutes. Again, circle anything that appeals to you, and use those fragments as the starting point of a poem.
Write a letter to a landscape or scene you pass through today. For example, “Dear Williamsburg Bridge,…”
Write a villanelle, a poem of five stanzas made up of three lines each, with a concluding quatrain (a four-line stanza). Lines one and three of the first stanza are refrains throughout the poem. The first line of the first stanza is the third line of the second and fourth stanzas; similarly, the third line of the first stanza is the third line of the third and fifth stanzas. Also, the first and third lines of the first stanza are the last two lines of the concluding quatrain. Every line should be the same metrical length. For examples, read Dylan Thomas’s "Do Not Go Gentle Into That Good Night" and Elizabeth Bishop’s "One Art."
Compose a poem collaboratively with a friend. Write one line and send it to your friend via e-mail, or by passing a notebook back and forth, and invite your friend to write the next line, building on what you wrote. Continue composing the poem together, line by line, until you have at least twenty lines. Then each of you consider the draft and revise it independently. Compare your final versions.
Choose a sentence from a newspaper whose meaning gets larger and stranger when taken out of context. Use it as the first line of a poem. If you get stuck partway into the poem, try repeating just part of the line and vary how you complete the rest of the sentence, changing the meaning and music of the line each time. When you have a draft you like, try moving the full sentence to the end of the poem, or somewhere to the middle, or maybe take it out entirely. Stir, and see what happens.
This week's poetry prompt comes from Idra Novey whose debut collection The Next Country received the Kinereth Gensler Award from Alice James Books and was included in Virginia Quarterly Review's list of Best Poetry Books of 2008. She teaches in the School of the Arts at Columbia University.
Think back to yourself ten years ago—where you lived, what your preoccupations were, who your relationships were with, who you were. Write a letter in the form of a poem to yourself then from yourself now.
Write a prose poem, a poem that doesn't use line breaks to convey its meaning. Read [the siren's story] by Barbara Jane Reyes for an example.
Write a poem that explores how you were named and the meaning of your name. Include at least one bold lie.
Snip apart a draft of one of your poems, line by line or in chunks. Rearrange the elements and rerecord the original work.
Take a cue from Raymond Queneau's Exercises in Style, which tells a single narrative in ninety-nine ways, and write a poem based on what happened just after you got up this morning. Then use one or more of these filters to revise the poem: onomatopoeia (integrating the sounds of your morning into the language of its telling), litotes (a supremely understated start to the day), overstatement (embellishing every detail), olfactory (emphasizing the morning's smells), tactile (emphasizing the morning's physical feel), gustatory (emphasizing the morning's particular taste).
Spend a few moments examining an old photograph—a found image, a photo from childhood, an iconic shot from history—and give it a title. Then put the photo aside and write a poem using this title.
Write a poem on a page of today's newspaper, allowing your eye to wander slightly and take in the language on the page, and for your text to overlay the text on the page. If you fix your eye on a specific word or phrase, incorporate it into the composition.
Choose a poem that you are in the process of revising. Draw a map of that poem, paying attention to the details of its landscape, its realities and abstractions, its landmarks, the spacial relationships among its features. Use the map to guide a revision of the initial work.
Choose a clichéd phrase ("fit as a fiddle," "think out of the box," "running on empty," etc.) and turn it around. Use the new meaning created by this reversal to fuel a poetic meditation.
Flip through the dictionary and randomly choose ten words. Write a poem with each word in every other line.