Master Mono-Rhyme Poetry

1. Introduction: Hello and welcome to the course Master mono rhyme poetry writing. My name is Zachary Phillips. I'm an author and a poet. And I've released a collection of poetry books, many of which you've received at the number one new release for poetry. A mono rhyme is a type of poem where the ending of each line ends with the same rhyme structure. So ending depending pending pretending, I'm ending right? So what we're going to do in this course is go through how to master the mono, Ryan, why the motto rhyme? Well, couple of reasons we'll get into this in the course, but basically, having restrictions on creativity, playing with Ron structures. A great way to open up, to expand, to grow our poetry practice. I'm going to be pulling poems from a collection of my books, but none more so than the book kept quite express. This book is a over 6.5 thousand word epic mano rhyming poem. As you read through the book, the monarch has changed. But for a page to a page and a half, they the same ending rhyme structure. And it's sort of become my style. People that following me on poetry or Instagram or no, my website poetry will see that I'm writing in monetary terms quite often. What I wanted to do with this course is open that skill up to you. With some simple guidance, some tricks and some tools, and some basic techniques, you will be able to write mono rhyming poetry. In this course, I'm going to share four poems that I've written in the mono rhyme format. And we'll break them down and discuss the different ways that you can implement mono ramming into your poetry. Now, this will be beneficial if you just want to write poetry in general. Because it will open you up and you'll be able to play with the structure, learning new ways to Ryan. And like I said, the restrictions on your creativity will actually enhance it. But you'll also, if you want to begin experimenting with mono rhymes. And that for me, I just absolutely love them because you can do so much with a simple end based expression that you can't with other poems. It, the fact that there is the mono lens, some credence lens of pop to the ear. It sounds good. So what I'm going to do is in the next session, in the very first lesson, I'm going to read you one of my poems, and then we're gonna break it down from there. Hopefully by the end of the course, you will be able to start writing monitor rhymes or your ability to write them on a rhymes will be enhanced. Like I said, I'm gonna be sharing collections from my books and I'll put links down below so you can read them in the PDF. And the class project will be obviously creating a mono rhyme. So without further ado, let's get into it. 2. Poem #1 - Can't Quite Express: So the first modern ROM I'm going to read to you is called can't quite express. There were things I want to say, but just can't quite express. Ruminations and meditation's, I'm too afraid to address the veil of my eyes that gives me hidden from the stress to the duck wishes I'm fighting to suppress. But the fear and anxiety that are constantly transgress the past expressions are never going to confess. Like how everything I do gives me nothing but duress. The unwavering akin to them it is causing it to regress. I must profess. I've designed to express my stress, confessed to address this abscess, to access on happiness, to aim for access and stop living like such a mess. Yes, I want to make progress. But there were just some things I can't quite express. 3. Why Restrictions Boost Creativity: Okay, so let's talk a little bit about that poem can't quite express what's going on here. Well, obviously the monogram that we're working with is express or the s ending with this poem. I wanted to express my inner state of the things that I can't quite express. So obviously, the title itself, there's a little bit of irony there. But as you could tell, there is this flow that comes with the use of the mono Ryan. As you go through it, sort of ties it back. The sound of it keeps pumping. Can't quite express a dress, stress, suppress transgress. You keep getting the same sort of feel to it and that's the appeal of them. All right, so what I wanna do in the next, next lesson, next session is talk about creativity and restrictions and why you'd want to employ them on a rhyme as a form of creativity, restriction, but thus expression and growth, it will actually help you. One of the problems riders have when they're trying to be creative is that they sit down at their laptop or their pen and paper out, and it's just a blank page. And you've got all of these ideas and you look at the blank page and you're like, Oh no, what am I gonna do? I can't feel this, I can't do this. And you get overwhelmed, you get writer's block, you get this just sort of issue, this restriction. You can't quite create. You might have all of these disparate ideas, but It's hard to put them onto the page because you're not quite sure what to do with it. Because there's no restrictions to your creativity. You get overwhelmed by all of the possibilities. You feel like since you can do anything, there's too many options and thus you can't do anything. Take the typical Haiku as an example. Five syllables, seven syllables, five syllables, right? That's the classic restriction. You have to fit that format, 575. Okay. Now from there you can easily take it and go, Okay, I want to express nature's beauty. I want to express in a torment. I want to express whatever it is you want to express. But because you've got that strict structure, 575, you're forced to use specific words, you're forced to be brief, you're forced to choose things specifically, the fact that you're forced to choose things specifically help you actually be quite creative. It sounds counter-intuitive, but it turns the blank page into five syllables, seven syllables, five syllables. Right? Now, this goes with any structure, obviously any sort of poetic structure. If you've got a word limit, if you've got any sort of restriction on creativity, it helps us sort of frame. So within this box, you're free to play, but you've got to stay within the box. Now, don't get me wrong. Some people want that freedom, and I'll suggest you play a little bit of both. I'd like to give myself when I'm writing poetry, a little bit of restrictions. But those restrictions allow me to flow. And then when I'm creating and editing and going through this and talk about this process. I will then open those restrictions up once I've got something written down. Right? So once like let's go with the Haiku example. With forced into this structure, it forces me to do that. But then if I wanted to take it beyond the haiku, we're into something else. I could play with it and tweak it. And the poem would grow into something sort of free form and expressive, but within a specific context. Step two, the mono rhyme structure, ending on the same end, you must end each line with a rhyme. We can't quite express. Obviously I chose, well, can't quite express S based endings. I'm forced to stick to that structure. So whatever I want to say, I'm going to go into other poems as we talked about this. But whatever I want to say has to fit with that ending. That's the base structure. That's what I'm going for. So as I wrote it, I'm like, okay, let's go through what kind of can't quite express abscess stress. Like there's all of these similar rhymes that come up and just sort of pop to mind that fit that theme. And then there'll be words that pop up that have the S based ending, but don't quite fit the theme. We'll do that, right? So we're gonna go through the poem again, but having a look at some of the words that have popped up will highlight the S based endings and see how they've been twisted into the palm. Yeah. So if you haven't already opened up the PDF file of can't quite express. And let's have a little look through just the words that have the S based ending. Express a dress, stress, suppress, transgress, confess, duress, regress, profess, express, address, abscess, excess, mess, progress, and express. So I have repeated sum at the end there and we'll talk about tweaking that I did down this path, but we're looking at different words that pop up. Now, obviously, this piece is sort of an internal base piece. It's a ruminating sort of piece. It's sort of like a dark sort of internal piece. So words like stress and suppress makes sense. But what about confess? What about regress? Well, that abscess, right? I wanted to put these words in because this strong. But in order to put them in because they're strong, I had to sort of think about, well, okay, how do I want to express, express? What's going on in my mind with the use of these words. So the past expressions, I'm never going to confess makes sense, right? But to get, to tweak that, and it's like, how can I tweak the word confess into this poem? It requires a bit of thinking, but once again, the creativity he's been forced into. This thing has been funneled. It's like, here's the list of words. I'm going to choose it. I'm gonna, I'm gonna show you how to find these lists of words. But I've got this set of words that I can choose from. What words make a good poem? What words will fit? What words can I tweak the surrounding words into to get the best expression possible? Confess to address this abscess. What you're going to find it is with the poems because of the restriction. You're going to be playing a little bit fast and loose with some of the meanings. But think about what a word is. A word is just a representation of a concept. I speak a word, for example, like abscess, comes out of my brain. It gets interpreted, put into the context of words and expressed. Goes through the ear, goes through the internet, you take it and you decode, decompress it, decomposes, decode it into your brain, and then it becomes sort of like audio visual memory based triggers, right? So all the word is a representation of that greater sort of internal Hall. Maybe we're getting a little bit tricky here, a little bit sort of conceptual. But the point is, is we're looking to convey meaning, not necessarily conveying literal exact definitions. This is poetry afterwards. So you're gonna be playing a little bit fast and loose with definitions, but that's part of the font. It's like how can I best express this concept with a limited word structure that I've gone. Yeah. 4. Poem #2 - The Agnostics Plea: Okay, now for the next poem, the agnostics Play. Click the PDF below and have a read along with me. Tell me how you're gonna be it. Beer, he or she or me, share with me it's personality. Should I fear the and their ability to bring death upon me? What are the decree? What happens to those who flee? And how do your god treats sinners who kneel and play shimmy the impact on society and on you personally and on the priests who needed to agree to interpret their words heard internally. Can they foresee the future of humanity? Or are we free to embrace obesity reality? I want to see what brings your heart such glee and fuel the emotionality. They can seemingly only be wrought by divinity. 5. Rhyme Zone & Rhyming Dictionaries: So this poem was inspired by two people having a religious debate. And I sort of was sitting there in the background just watching this going well, you've both got the book, you've both got the opinions, you've both got the followers, you both got all these ideas. And yet you both think each other is wrong. Maybe there's a third opinion, maybe there's a fourth, maybe no one knows this. On a separate topic. You can get inspired by poetry from anywhere that inspired me. And I'm like, ****, I don t know. Thus, the agnostics play, tell me, tell me the answer. Please enlighten me in a way that makes sense. That was my feelings going into this poem. But let's talk about, once again, we have the restrictions, the agnostics plea. Tell me, write the E endings. Now, I talked to play. Now, there's a tool, a website called Rime zone. I'll put this in the show notes and you'll be able to click through. But RAM zone is a website where you type in any word and it pops up a bunch of rhymes, words that rhyme with the same word that you do. Now, you've got to be a little bit careful because some of them don't quite run when you say them out loud depending on your pronunciation, depending on where you're from, to be a little bit careful. But in general, this website is absolutely amazing. I use it as a tool so you can sort of get an idea for the words that you could use. You could start practicing and try it by yourself and then sort of open up RAM zone as a way to add some extra help in or to pull in extra words. We could use it and just have it open up beside you and go, Okay, that's a cool word to put in here. Lots of different options. I've done all of those options, but I tend to write from the heart first. So the words that pop up without going through Rome, his own stronger or sort of fit poems more. But sometimes in the writing process we're going to talk about this. You just get 80% done and you need a bit of external assistance. So rhymed.com is great, but also a rhyming dictionary. Okay, they're at, they're out there. The physical copies are out there and available where I'm zone works to depends on how you write it doesn't if you want digital, all of that good stuff. Anyway, if you type plea into rhymes zone, you get 3,224 words responding back to you. Now, most of those aren't going to be applicable. But let's consider the feelings that pop-up. Look at the second, second on paragraph they share with me it's personality. Should I fear they and their ability to bring death upon me. Now obviously I'm using me a bit. Same rhyme structure, same, same, same sort of constructs there. Now it's up to you how your poem go. You could, you could choose to have a mono rhyme that doesn't repeat any words. Or you could repeat the words. Might like, I've used me in this poem quite a lot. Why? Because it fits the feeling. This is my plea, me playing. I want to know. It depends on what you're going to do. And this is the same thing with restrictions. Restrictions not repeated or that you can repeat it. It's up to you to get the best end based pole. Creativity restriction carried. Creativity helps. But the end poem is what's going to be red. So you can write and then edit separately. But let's consider the word here. V, as in the word they should. I fear v. Now, why is the word the, a good choice here? If you consider what we're talking about, this sort of Biblical, this religious, this holy as sort of wood-based structure. We're talking about the idea of the, the word base structure outweigh, right? So it sounds like the topic that I'm talking about, Does that make sense? We're talking about decree. We're talking about humanity, we're talking about divinity. All of these words talk about the topic whilst sounding like the topic as well. It's important that if you want a poem to sound good, but also to have an internal consistency, to have a internal meaning, to have an internal flow. To have this sort of feels like it should to choose words the best sound like. I'd like to know when you're reading a fictional novel and each character uses different words or phrases or tones or sayings. And you could read a character, a well-written character that is without the tag of like said, John. If you just read those words and you've read the book, you'd be like, Oh, that's John talking. Well, in the same way with this poem. It's called the agnostics play. We're talking about these sort of spiritual, mystic, religious cystic. Feelings is a good word there. So I encourage you to consider, not just to pull random words out, but really consider the word choice. Now if you've got a tool like run zone, like I said with plea, you've got 3,224 options to choose from. Okay. So take your time and work through and consider it. 6. Poem #3 - Sad Zac Is Sad: Okay, so the next poem we're going to look at is called sat AZEK is sad. Click the PDF down below. I'm going to read along together. Said Zackie said he's feeling bad. He's feeling like he's been had the times he was glad and feeling red were in fact just a fad. As we lead said, Zack couldn't relate to any comrade. He was bullied by Chad, crying. He asked for advice from his dad. Just punches, face attack, lesson learned. Fists, make a nomad. As one tick to the notepad. No one approaches the battle clad. No one thread to the mad. Sounds like his head. Remembering his dad, remembering him before he was mad. Rereading the notepad, ruminating on his advice to play Mad, embodying it. As a personality pad. Said Zack Nephthys, the nomad and trends daily for a fight. He's not yet had fewer. The foot pad root willing to do dad has grown into fear of every comrade. Where's the rest of the advice Dad, economic void also going mad. What can I do to stay feeling glad? Who can I turn to you now that you're just a notepad, says I could still sad. But all sorts of Ted, glad because putting these thoughts on this Notepad has alleviated some of the mad. He still feels bad, but writing is healed. Some of his intellect. 7. Formatting The Page During The Writing Process: So let's talk a little bit about the poem and then we'll break it down and sort of get into the more of the creativity side or how to create a side. Said Zackie said, I wrote it as a way to express well my inner self. And I just sort of considering the title, considering these inner feelings, said Zackie said those, that line or that title sounds like a child is writing. Sad. Zack is said, sounds like something that a five-year-old would say, right? So then I'm like, okay, given that concept, the way that this poem should be written, the way should it be expressed itself. It feels like it's gonna be a modeler run because not all my poems and mortar rounds, but this one feels like it's gonna be a one, a room. But I'm going to further restrict myself into sort of writing with sort of childish words. So I'll try to be as less complex as possible. And obviously, you'll look through, you'll see some complex words because it is still an external. The imagery I'm going for is like still method of expressing the inner selves, the inner child's expression there. But I wanted to feel a little bit like a kid was writing. It. Sounds like he said He's feeling bad. He's feeling like he's been had it almost what I wanted it to come across as, and I hope it did, is almost like a kids book, right? With more adulthood based things, more serious based themes, right? So I hope that came across like that. And then I want it to go through this process of expressing what had happened, expressing why it had happened, expressing how I felt that way. The story of my father, my dad, then the ramifications of that story, and then tying it all back up going, well, yeah. I'm still said that the act of riding itself is therapeutic. There's a lot going on in this, in this poem. But what I want, I wanted to express to you at the moment is there's a couple of things here. The mono run, the extra restrictions of the younger language and the tying it all back up together as a message to the reader of like, hey, you can express yourself and it will be a bit therapeutic all within that same mono rhyme structure. But let's talk a little bit about the process of writing this poem. I had those ideas, all that stuff sort of stuff sort of popped into my mind for whatever the thought came up that I'm going to write this poem said, Zackie said, then these thoughts came up right at like a child's writing and write it with a mono around structure, tie it back to the riding therapy thing. But then it's like, okay, well, what words can I use? Like I've said in the previous video, you can pull up a thing like a rhyme zone. Yeah, but before I do that, what I consider is just what's popping up into my mind straightaway. Now, straightaway this first paragraph came to me just in my mind like this just popped in. Now, some people will things will pop in like that. Some things that might only be a title, there'll be a concept, write your approach. What happens with u will be different to me. But for what happens with me is that first I think popped in his head, he's feeling bad. He's feeling like it's been head that the terms he was glad and feeling red or in fact just a fad that just popped up. Then I'm like, and then other stuff came out. Like, okay, what are some what are some rhymes that we're going to look at me. I'm not going to be talking about death that's in there. Now. Got I got when I write, I write mainly on my phone's notes or on a notepad. And if I'm writing on my phone's notes, the poem goes on top and then the mono rhyme words that I think should go in, go underneath this. I've got that first sounds like you said that first paragraph written up top and down below, I'm adding mono rhymes that come in. Okay. My dad should go there. Man should go there. I'm like, What else you got? Notepad should go there. Okay. Things kept popping up. And as the molar I'm forms, and as I use one of those words, I delete it from that bottom line. Does that make sense? So as the rhyme is forming up top, firms notepad, down below, I'm adding words as they pop up. So I'm writing, writing, writing. I think of a oh, man, could be cool to put that in. Lead, could be cool. I'll put that down below. And then I go back to writing the poem. If I'm running it physically, on a physical piece of paper, I'll have the poem down one side of the page, and then on a separate page, or on the side of the page, I will have the poems coming down that side. Does that make sense? And I can just cross them off. I'm saying this because it's hard to hold, to create the poem and hold all these motor neurons as they're popping up. So have the poem in one area and have the potential monitor arms coming up in another area. And then you cross them off as you go across the **** are you doing? But then a couple of things happen. It's like, okay, I want it to express this. This is a, it's a true story and I say true story in quotations because this did basically happened with me. My dad did express to me some advice to deal with a bully and it was to him in the head. And it wasn't the best advice. And my father did go a little bit mad and lots of other stuff happening. If you read through the poem, this is a expression of my story. Now, I wasn't bullied by a kid called chat. But it's like, Okay, I need a ride. Fits the rhyme structure. The child's name got changed to chat. You get what I'm saying here? And there's certain things that I had to use. The fear of a foot pedal wielding ado dad. Okay. So, so let's, let's, let's break that down. A fear of a foot pad wielding a doodle that, What's the foot pad? Well, if you've read it, epic fantasy or looking to history, that's someone that's going to come across and Robin, what's it do that? Well, you can imagine what to do that is, but it sort of like a childish way of saying weapon. Still checking back into that theme of childish expressions for things. I had to pull hard for that one because I'm like, oh, how can I what? I was looking through the sad the mono Rahm said on runs on knowing what could work as a weapon here, any weapon, it didn't have to be what I actually fear, but just something to express that concept. I went through, went through went through and had to look through them. I do like, I guess do dads the best fit? Like I said, our goal is to portray meaning is to, uh, to, to connect it, to move the reader emotionally, not necessarily give the best expression of a word. Now, is do that the most expressive word I could have used here if I wasn't in the monorail instruction is far better words. But for this, it works. Now. That's sort of, that's sort of my approach down this path. And there's a few other examples if you've read through the poem again, for example, ruminating on his advice to play Mad and embodying it as a personality pad. What's the personality pad? Well, I needed the Brian to end on a sad face model of personality pad sort of evokes, to me, at least, I hope it does to you, evokes this idea of my personality that I'm pulling up, that I'm sort of had to create. If you've got a single person while you'll understand what I mean by this is sort of like the sort of need to act. It's like, Oh, I can pull up this thing. It's like I'm reading from a person, from a notepad of how to have a personality. That's quite deep level things for another, another place to talk about. But the point I'm trying to get across to you is, is embodying as a personality pad. It's a way to express those feelings that within the confines of the mono rhyme. So what I'm getting at for us is no matter what you're trying to express, I'm going to talk about how you can directly do this, but what you're trying to express, the Liberal, be creative, think outside the box and the rounds will come. Make sense. 8. What To Write About: Hopefully just listening to these poems and considering what our rooms, things have started to pop off in your mind. I don't know what you're writing. You could run on symbolist after I write, but you could read completely opposite. But what I want you to start thinking of is, what are you trying to express? Yeah, what, what is this core feeling? What is this thing that you want to get out of your head onto the page, or what do you want to draw from and put onto the page? It could be an emotion, it could be a memory, it could be a feeling, it could be an event. It could be the present moment right now. It could be your feelings about someone or something in your life. It could be your feelings in response to something that happened, feeling of being slot. And you could be in response to some art or a news piece. Whatever it is, start considering what what that is that you're trying to express. Can you write it down? Can you think about it? Can you elaborate upon what's the core message you're trying to get across. Now, once you've got this core message, this core idea, this cool story, whatever it is, you can now you've got the restriction of the modern rhyme. You want to talk about within that restriction, you want to talk about this thing. You've ever tools of like a rum zone or rhyming dictionary plus your base knowledge of words. And you're going, Okay, I can start building a bit of something here. Start considering will start playing or start writing it down. And be okay with at least at the start having some gaps. Because it's been unreasonable to think that the whole poem would just come and be perfect. In my experience, it sort of flows and I sort of work through it. But I know in my mind that I've got this sort of approach where I want to get to some people, right? So there's different ways that people write. Some people are sort of plans are outliers and they outline the whole thing and then they sort of fill in the gaps. I think people will go by the seat of their pants. They just sort of float and they just have dual camps. So obviously, I would encourage you to do what comes for you. But what I would suggest is that most people are somewhere in between. They don't plan everything out and they don't go by the seat of their pants is somewhere in the middle. So for the vast majority of us, you got to do a bit of both. So you've got this idea that monogram structure and whatever it is you're trying to talk about. And you're starting to go through and you're seeing what pops up. You've got these limitations, you got the rhymes and you put in the words here. But then there's something you need to express liking. The previous poem says, like I said, I needed to have something that symbolized a weapon away with doing that. But until I can figure that out, I just did a square bracket, close square brackets, right? I just wrote weapon here, something like that, some sort of note to myself to go okay, I need to either choose to express this or find something to go here. And then I continued writing the rest of the poem. Right? Point is, is, it's better to keep writing, keep that flow going, keep going. Rather than interrupting your flow than stopping and searching for this thing. Now obviously that approach works for you than fine. But I would suggest that it's important enough to just keep going. And then come back to it. In the next, in the next session, we'll talk about the idea of creativity versus editing. But what I just wanted to leave you with right now is this idea of if you're in a flow notation, keep going. 9. Poem #4 Verses Like Curses: So the final poem we're going to break down, it's called versus like cursors. So click the PDF below it and read along with me. And then we'll talk about it. We'll talk about the idea of creativity versus editing in the context of Versus like curses. I'm not feeling good today or good feelings gone away. I don't think I have the energy to play. All I can do is sit and say that would flow through my mind in versus like curses that highlight the evidence for the nurses writing obituaries for those traveling in horses. The words disperses paragraphs of mentally versus the coerces when it traverses the immerses, it changes in corrupts into metal cup person's taking it all as it reimburses. The words are again, a versus life and death on the field of internal universes. The worst is that this verse is like on the rest part from the inner cursors when the Pinterest versus the page, it disperses by universities and reimburses, but only while it immerses. I can feel it ending now, the brief rest, but he's gone somehow. What can I do but allowed? Because the curse is trapped me in this vowel. So I'll talk about the creativity versus editing section, but I just want to break down what I'm feeling in this poem so you can digest for the creative process. I felt when this was coming. Well, like versus our light curves, it's like they just can't button on my phone. I have I just have to be there. And that caused had to get it out. That caused that middle part, the part that's the part that reads would through Whistler, through my mind in versus like curses. Because I wanted to express this idea that at talent, It's almost like something beyond me has just like it's like this is happening. You're writing, seems like you're trapped in here. But the process of that, it takes, takes me out of my mind it into the creativity space. I'm not feeling about this. All, all the stuff about the past and all the drama and all that other stuff on here writing. Yeah. That came first. But then I'm like, okay, I feel like this needs a bike. I was going to leave it just as that. But unlike know, I feel like this needs a little bit of a recap, a little bit of a sort of a like a, like a bookend to describe it. And I'm like, Okay, what someone around? Let's keep them on a rhyme, but sort of ended with a monitor. I'm starting to finish this bit different. So that's where we got. I'm not feeling good today. All good feelings gone away. Leading to the poll, then I can feel it ending now it's like I'm leading into this versus like this and then I'm pulling out a versus like us. So the idea is that you could sort of slowly it in and then boom, it hits its like paying the bank with the versus like curses the heart, the evidence for that. And it's sort of like goes quite fast. I wanted that sort of pumping faster feeling. Then at the end of cycle, you can see it coming out. So I wanted the reader to have that same feeling of going, going into it slowly and then bank and then coming out of it and being like, oh, we're back out into this rumination, this inner world. They sort of normal life That makes sense. 10. Write Then Edit: So let's talk about the creativity versus editing side of this. Like I said, I wrote that inner section first and then I sort of thought about it and wrote the start and the end beam. And this is important because you'll find that there's something to be said about creating over here and then editing over here, you create the new edit. I find that I get maybe 80 to 90% of my writing down in this first bit, and then I have to finish it off in the editing bit. Most of the time. What you don't want to be doing is trying to add whilst you're writing. I said it before, but I'll say it again. There's a creative part of you are right, a part of you and then a Editing part of you. The writer part of you need free flow, needs to go. So what you see here on the page, isn't the final isn't the final section of whatever. It isn't necessarily isn't the initial thing that I wrote. There was more it was a bit more sloppy. It wasn't as crisp. That's to be expected. But if I was to try to make it as crisp as possible during the writing stage, that would lead to disaster. It would lead to nice sort of grinding creativity to a halt, just to make this a little bit perfect. I find it that it is just flow. Trusting my future self, trusting the editor part of me. I right, then I add them, I get someone else to do a second load of editing. That isn't me. So I use my partner, but you can use anyone paid or personal. But what you need to do is, is in the same way that you're going to write, then edit. If you're getting someone else to edit them, let them know what you want them to do. Like, hey, I don't need a cheerleader right now because you can't have both. You can have them saying, Hey, you're doing good. But also there's a problem here. You have to choose. You say, Hey, can you please edit this work? What words are sloppy? What can I take out? Are there any misspelled stuff depends what sort of editing you going forward. Point I'm trying to make is, is with yourself. Right? And then it, So what I did here was this. I wrote that in a bit. Then I edited it. And then I thought to myself, okay, there needs to be this more, I need to cap it. I need to put something more of a star, more at the end. Then this idea of having a lenient and the feeling like I said in the previous coming in and like, Oh, that's cool. So then I went back into this creative mode, wrote the start right at the end, then back into the editing mode and sort of tweak those bids. And then I looked at all of it together now. Okay, how can I tweak this? How can I look at this and sort of refine it down to something I was happy with. Then I shared it with my partner and she looked over and she sort of tweeting like, Okay, you've been extra, didn't need this word, that sort of stuff. Talk back and forth to get the perfect poem. Now, in terms of using an external editor, again, some people struggle with this. Some people only want to write for themselves. That's completely fine. But if you're just running for yourself, skip that step. Don't show it to anyone else, but still go through the editing process for yourself. Two reasons. One, the follow-up home will be better, simply put. True. It means that you can focus creatively knowing that the other part of you later on he's gonna be he's gonna be editing it. And it doesn't, I mean 33. It means that you will be able to sort of get better at writing because you'll see, you'll see how you initially got it out and then you'll see the changes that you make in the editing phase. And then when you're writing again next, you'll improve and you're like, oh, this actually is quite a lot better. Do you know what I mean? So the next time you go to write a poem, because you've gone through the process of creating and then editing and tweaking, looking at over again, you will have more skills. So when you write in that creative mode, it will come out better. So you need to do less editing moving forward. Make sense. 11. Class Project: Okay, So now for the class project, obviously I want you to create a mono rhyming poem. Now, couple of restrictions here. Choose whatever word you like. But if you're not sure of what would choose four, choose the model rhyme from love, anger, hate, jealousy, or fear. Okay, let's just play with those basic words. If you've got a word you want to use with your own, go with it. But if you, if something doesn't pop up that you want to talk, to, talk to one of those words. I'll write them down in the class project section so you can go back over them. Second thing, I want to at least four lines, full lines as crisp and it's sort of succinct and as brief as possible, expressing the feelings that pop up around that word. So full lines, minimum of one of those words that we talked about. Mono running fashion. So that means the last word for each, each one of those rhymes goes there. Now, I'm saying minimum forward those long as you'd like. But in those four words, if you're only doing the four, the four wines, no repeating. If you're going longer, you can repeat one of the words. Does that make sense? So the restrictions are four-line minimum. One of those words or word of your own choice. And if you're only doing full lines, no repeating, you going longer than four, by all means go for it. Now, I want you to post that mono rhyme in the class projects section, just them on our rhyme. And I'll give you some feedback. And you can also use the class project as a place to talk about any issues, questions, concerns, anything like that about your poem? About my poem is about whatever you like, ask away and I will answer whatever it is, any sort of build up that thing makes sense. 12. Quick Recap: So just a little quick recap and review, and I'm gonna give you some resources to look into a mono rhyme. It is a type of rhyming structure with a last line ends with the same sort of running sound. We talked about the importance of all the ability of restrictions to enhance creativity. If you restrict what you can do to the last line in this example, being the same rhyme structure equal enhance your ability because no longer do you have this open expanse, blank pages like you've got to write whatever you like within these boundaries. We've talked about different ways you can restrict it within the boundary of them on Iran as well. We talked about the idea of our words that we use and that we choose to fit the theme of the motor neuron that we're going for. We're not just choosing any words which using specific words that fit the theme. And also ryan, Yeah, and we also talked about the idea of our words and our poetry. The idea of it being to convey meaning to transform the emotionality of the reader, not necessary to convey the perfect literal meaning of the word. So you're gonna be a little bit free and loose. We've talked about the use of tools like a rhyming dictionary or rhyme zone.com to get an idea of things that you can put in. And we also talked about the process of writing. For example, you might have your monogram at the top of your page and then the different words that fit them on a ramp down below. And as you write them, you cross them off or delete them. Or if you're doing physical, you'll write your monitor. I'm over here and you're writing words that are popping up over here and crossing them off as they come along. We talked about the idea of being creative and then moving into your editorial space, create first, then that way the creativity pops up and you're golden. You're not restricting yourself, not hamstringing yourself, and sort of stopping that creative flow. We talked about the idea of people being planners or pants. As with the idea of plan is planning everything out and the parent is given by the seat of their pants, with most of us being in the middle. The idea being that if you're getting into flow and you need a word to fit, you can't quite find it, but you've got more coming. Just put a little note to yourself, maybe square brackets, maybe something else, and keep that flow going. That's the better option in my opinion. Makes sense. So like I said, resources or rhyming, dictionary or rhyme zone.com. I also want to encourage you to check out my poetry books that I've got up. I'll put a link down below to my poetry on my website with my poetry, we can also check out my different books. I've got words on a page, reflections of the self bounds of the wings of the butterfly and can't quite express. Now, this is the one I wanted to emphasize. The whole book, the 6,500 word book itself is a mono rhyme. So the monarchs switch sort of each page or so. But the whole book tells a story in the model around fashion. So if you want an absolute masterclass beyond this course in modern times, this is the book to get. Yeah, it's a bit of intense rate, but it goes deep using all the techniques that we've talked about in this book, in this course, sorry. Now, above you, below you in some way, it will say rate review this course, please do so it makes a massive difference and lets me know what you're after. Like I said, do the class project and ask any questions you've got there. If you'd like to read more of my work, you can head over to my website, Zach Zachary half and philips.com or check me out on social media. Zach P. Philips. But like I said, monitor. It's like it's, it's something that comes naturally. But it's so cool to express and I don't know, I just love them. So if, if, if you'd like the idea of Mano rhymes, do the class project, hit me up. Let me read it because I'm super keen to see what you come up with. And like I said, Thank you so much for joining me in the classroom and I'll be back with some more poetry instructions.