A Quote by Ambrose Bierce
BLANK-VERSE, n. Unrhymed iambic pentameters - the most difficult kind of English verse to write acceptably; a kind, therefore, much affected by those who cannot acceptably write any kind.
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I began to write what I called 'rhythms' ie unrhymed pieces with no formal metrical scheme where the rhythm was created by a kind if inner chant... Later I was told I was writing 'free verse' or Vers libre.
Write verse, not poetry. The public wants verse. If you have a talent for poetry, then don't by any means mother it, but try your hand at verse.
I didn't know how write a song, (verse, chorus, verse, chorus, bridge, chorus, bridge, verse), etc., and I didn't know how to write lyrics, so that's when I thought, well, I don't have to write a song with all those verses and choruses or lyrics. I can just sing everything the way I want to. So I sang all the instruments with my voice and just went with it.
I write a lot of children's verse and I think it delights in the language. It pleases people. It's very musical. It's very lyrical and that's certainly a very important aspect of poetry. But I think that a lot of it is verse. I write well-wrought verse.
I hardly know what I'm going to write - an article, a story, a poem in free verse - or in some regular form. I only know that when I have the first sentence. And when the first sentence makes a kind of pattern, then I find out the kind of rhythm I'm looking for.
The iambic pentameter owes its pre-eminence in English poetry to its genius for variation. Good blank verse does not sound like a series of identically measured lines. It sounds like a series of subtle variations on the same theme.
Sometimes I write from the end of the verse to the beginning of the verse.
In a sense, the story, or poem or verse or whatever it is you're writing, you can kind of think of it as a kind of projectile. Imagine it is a kind of projectile which has been specially shaped to be aerodynamic, and that your target is the soft grey putty of the reader's brain.
With 'Break The Night,' each verse is saying, 'Nothing's going right today; nothing ever does.' It's about that kind of repetition, it's that kind of mantra you can get in your mind when you're depressed or down, when it's become like a hamster on a wheel - it's very difficult to break.
I think the most important lesson isn't necessarily to try and write a different book every time, or to try and brand yourself and write one specific kind of book, but to write the kind of books you love to read.
There are, first of all, two kinds of authors: those who write for the subject's sake, and those who write for writing's sake. The first kind have had thoughts or experiences which seem to
them worth communicating, while the second kind need money and consequently write for money.
When people ask what kind of nonfiction I write, I say 'all kinds,' but really I mean I don’t write any kind at all: I’m trying to dissolve the borders between memoir and journalism and criticism by weaving them together.
The iambic line, with its characteristic forward movement from short to long, or light to heavy, or unstressed to stressed, is the quintessential measure of English verse.
What I do say is that I can write verse, and that the writing of verse in strict form is the best possible training for writing good prose.
What I do say is that I can write verse, and that the writing of verse in strict form is the best possible training for writing good prose
I figured I’d probably write 50 scripts in my life. Out of those 50, I figured maybe five would be produced, and that maybe one or two would be successful. So I always kind of expected I’d write at least one successful film in my life. [...] The way it all came together was kind of like Murphy's law in reverse—I don’t expect that kind of experience again any time soon.
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