A Quote by Mark Ravenhill

There is the question of language. Although the play [Candid] is not written in strict verse form, there is an underlying beat of rhyming couplets, with echoes of Pope and the tradition of eighteenth-century philosophical 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.
The first two books that I did by myself were long stories in verse. I knew I could do that because I'd written a lot in verse. But, verse stories are hard to sell, so my editor encouraged me to try writing in prose.
I never even considered writing a career option. I just liked the play of words. I was certainly interested in story, but the stories I was telling then were in narrative verse and prose poems, short and succinct, except for one novel-length poem written in narrative couplets.
I've always written pop songs. I tend to take inspiration from more experimental genres, like ambient music, but at the root of the song, it's verse-chorus-verse.
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.
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.
Verse comedy is interesting to me because of the challenge of writing in rhymed couplets, which is not a form that's usually amenable to English, yet to me it gives great possibility for comedy.
Verse in itself does not constitute poetry. Verse is only an elegant vestment for a beautiful form. Poetry can express itself in prose, but it does so more perfectly under the grace and majesty of verse. It is poetry of soul that inspires noble sentiments and noble actions as well as noble writings.
Whatever you think The Uni-verse is withholding from you, YOU are withholding from The Uni-verse. If you think that The Uni-verse isn't answering your prayers, chances are you aren't listening to your intuition and following it. You are so scared that you ask for new intuition, but that's not how life works. The Uni-verse is constantly whispering to you, nudging you to trust It and take a leap. But if you don't take the leap of faith, then The Uni-verse can't open any more doors for you.
At four lines, with the quatrain, we reach the basic stanza form familiar from a whole range of English poetic practice. This is the length of the ballad stanza, the verse of a hymn, and innumerable other kinds of verse.
I've written many extra verses to songs that I learned to sing - an extra verse about a friend, or just add some verse - and that led to writing my own songs.
But in a lot of ways my poems are very conventional, and it's no big deal for me to write a poem in either free verse or strict form; modern poets can, and do, do both.
Free verse seemed democratic because it offered freedom of access to writers. And those who disdained free verse would always be open to accusations of elitism, mandarinism. Open form was like common ground on which all might graze their cattle - it was not to be closed in by usurping landlords.
Sometimes I write from the end of the verse to the beginning of the verse.
My own verse is usually free verse. The freer the better.
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