Riding the Cinquain

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So eleven new poems with two more in the works find me compromising more with poetic cinquain, working more on the its stress of syllables, the fact that this type of poetic style conjures more of a shorter, simplistic form: for example, its makeup of five lines. I’m developing two more poems dealing with humor and feathers, feathers as a healant and texture–rather a type of cloth that can comfort. Some of these comforts are seen with thematics of childhood and adulthood, hence certain types of clothing as well as medicine and healing. What I’m also searching for within one of the cinquain poems is feathered grasses, e-prints, landscape, nature, and the human condition.
Tally Ho, cinquain!

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Shifts in revising perspective

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One of the most problematic essentials in navigating a main character is simply trying to stay on track with what type of personality that character has; for example, in revising the first few pages of a new revision of my almost first full draft I noticed too many shifts in my main character’s behavior. Characters’ personality shifts are necessary in terms of making sure that they are more dynamic than static–in some cases, dynamic in the sense that they do shift so that they grow. I noticed diving into my next draft my main character weaves in and out of a few starting paragraphs splitting the character into different dimensions, which is not what you really want. I like my main character. The character is redemptive, which is important literarily. At the same time, I want to see my main character not form a pattern with her life. As routine as some of her antics may be, they are more situational and circumstantial, which finds me getting back on track with what’s also the point of view.