Transcripts
1. Introduction: Hi, my name's the fire. I am a writer and a writing instructor. Now, this poetry class is going to be great for anyone who does not like writing poetry. We're going to learn how to write a poem without actually necessarily writing a single word. So we're going to base the poem that we're writing on a piece of descriptive pros.
2. Chosing the extract of prose: How does this work? Well, we're going to start with a piece of prose. And it needs to be a piece of descriptive prose around two paragraphs long, but anywhere from one to three paragraphs is fine. Now is really important for it to be a piece of descriptive writing. So you could choose something like the description of a sac, of a character, of the wether, something of that type. And the reason it's really important for it to be a vivid description is that we're actually going to be picking some of those descriptive words and phrases out of the piece of praise later in order to help you create your palette. In addition to having vivid imagery, it's good for the paragraphs. Select our little bit of development. For example, somebody needs to be doing something or there needs to be some sort of change of mood or some change of what's being described. Now, I found having this type of change really important in terms of shaping with how it, when I've done this type of exercise before. If there's some kind of change or development in the abstracts of prose that each, this means that the poem feels like it evokes and comes to some kind of natural conclusion. I'm going to source the extract from a website called Project Gutenberg. Project Gutenberg is really useful for sourcing, extracts, jury fiction, particularly anything that's out of copyright. Because everything, I think everything certainly nice things in HTML format. So you can literally just copy and paste the abstract you're looking for. Yeah, see that's the bed. And put them into a Word document or a Google document like say.
3. Edit 1: When you've got your extract into a Word document or a Google document, you can start editing it down to create a poem. And the way we do this is by removing the boring words and phrases on, by keeping were interesting and descriptive words and phrases. So if I just show you, so in terms of getting rid of boring words I think and is going to have to go under the boring word. I sank down where I stood. That sounds quite descriptive. So we're going to keep that again. We've got another gonna take that and out. And up here it's my face against the ground. At that sounds fine. I'm going to keep that in there. Yeah. And you can see what I'm doing between each descriptive phrase. I'm putting a line break. And these line breaks are going to form the lines of the poem. Once we've registered it down a bit, yes, It's, the night went, there is a boring work, but might Windows interesting. So where we're going to keep that swept the sweat they've that I think are going to put a line break in there. We'll see what that's like. Again, we can change this later. Okay. I think you've got an idea about what it's like in just a second, I'm going to speed this up. And then E, then you can skip forward quickly to what the final product looks like.
4. Adding stanza breaks: So once I edited the text, say that there is one descriptive phrase, hyaline. Well I'm gonna do is start breaking it into stanzas. So standards, some people call these verses, although preterm birth is more related to songs, it's essentially a group of lines that's separated by a space from the next group of lines. And each stanza and the PAM needs to have a particular focus. So basically one stands up her topic. So I'm just going to show you what that means. So these words here are excited. Whenever I stood, hit my face against the ground. Why they still for awhile. That's all about lying down. So I'm going to put a break to separate it from the lines here. Night, wind swept over the hill, Eva may die moaning and the distance, the rain fell fast Western me to the skin to that. So what about UEFA? So that's why I separated those two into two separate stanzas. Now, this next bit here, kid, I have stiffened right down to the hand. This is this is still about weather, but it's about hypothetical without the possibility of it phrasing. So that's why I separated that out. And now it changes. How does a new thing here? I've rows and long. So I raised before long, boss, definitely a new topic that's not about whether I'm going to put in a line break. And now this is interesting, light shining down but constant through either right? Now bases actually sacral idea again from eyebrows. And I'm actually going to stop the break-in hit. It can be quite effective to have Costanza, that's just one line on that. Brady draws attention to that. Aligns about stanza that shoots. And again, light shining debit constant. Three, the Rhine I've tried to voltage again. So this is about the light. So I'm going to separate it here to separate it from the idea of walking. And here it is. O the stanza breaks, reroute.
5. Edit 2: So prior to the Second Edit, I've actually gone away and left the writing for a couple of days. This is often a really good idea. Just, you know, the feed got a fresh perspective on what you're looking at. And one of the key things that we're going to do during the second edit is convinced the poem down even further. So that means we are going to be taking away more lines and more phrases so that we're just left with the most intense and less descriptive writing, but we can have. So just to give you some ideas of what types of audits will be made at this stage. I'm taking out some individual words, so I am taking r here because it's repeated here. I might add some more line breaks to, for example, died mourning in the distance. Now, it's really effective here to have one word per line to really draw attention to these very powerful was the idea of death and moaning. Now, when I get down to here, I'm actually going to take all of this out. And the reason for this is it's very hypothetical. Could I? Might have. And to me it just doesn't. Although there's powerful language like friendly numbness of data, that's really interesting. It just whittle this hypothetical kind of kid and might it doesn't read that well as a poem. So yeah, it's absolutely fine at this stage, should be taking out large chunks of text as well as small sections and individual words. Once I've been through the whole poem doing this track and edit, I end up with something like this. Now, we also need to sort out the punctuation before we finalize the poem. This is because there still will be full stops, capital letters, commas unsafe forth. That's a left and from the original piece of parties writing, and they don't necessarily work very well now that we've cut it down into shorter phrases. So just to give you some examples, stanza here, I sank down worth it. Here's my face against the ground, relates to the world. That's actually one sentence. I'm going to change this to a full stop and this to a comma. And it's a list with three items in one sentence. Night wind swept over the hill, over me, died, meaning the distance also sentence will stop back capital letter here. Now in terms of capital letters and four stocks, you may find off your edits depending on what facts you've used that you don't actually have full sentences. You've just got a series of disassociated phrases, and that's absolutely fine. What you just did that mistake how all the capital letters and all the full stops. You might want to use commerce at the end of lines, you might want to use nothing. And once you've done a full punctuation edit, this is the sort of thing that you end up with. Now we're nearly at the final version of the poem. We need to choose a title. And the title is quite crucial for this type of poetry, because what we've essentially got a load of words and phrases, they're a little bit dissociated because they've been taken from a piece of prose. So the title is crucial because it explains what these words or phrases are about. Returning to our example, these words and phrases in the poem were taken from its action in Jane. Jane is lost on the ball and she is feeling very less. And then she sees a lightened walks towards it. And that gives her folk. Now, because we've extracted these phrases from the novel, we don't context on the page in front of us here. So if we read it came along, it didn't matter whether it's phrases, what they might not really understand what it's all about. So I'm going to reintroduce that context from the blood into the poem by giving the title lost on the moral. So there are just other little bits of formatting. So I'll make this bows. And then seeing if we can make this centered.
6. Over to you: On the Moral. I sank down wherever I stood. My face against the ground. May still awhile. Night to wind swept over me, died in the distance. Rain sound fast, watching me to the skin. My rose at night, shining dim but constant three, the rain was my full-on. Gain it. So that we have it. We've created a really intense, powerful PO IM, just without even writing a single line, just by starting with a piece of price and say, Yeah, Over to you now, I'm really looking forward to seeing your projects online. Thank you.
Sophia Feinbaum
