After sixty-seven sessions of Curse of Strahd (read all about it here), it was time for a change. So into the wild we went...
My group is nearing the end of Hither, and along the way I've written summaries of each session ("What Just Happened?"), along with interesting/funny quotes from PCs/NPCs ("Certain Things Were Said"), and a list of new characters introduced that session ("Dramatis Personae").
My intention is to write the summaries for each of the five parts of the campaign in a different format. For the Witchlight Carnival, each summary was presented in verse (my own, no machine learning shortcuts!), using the the metre and rhyming structure of various Lewis Carrol poems.
I'd like to share my summaries/poems with you all here, for posterity, and in the hope you'll find them entertaining.
For reference, the players are:

• Holafina (a harengon paladin who has lost three inches of height)
• Skerrek (a kobold druid who has lost the ability to lie)
• Arix (an owlin monk who has lost all sense of direction and is always hungry)
• Jexim (a brash fairy who has lost his diary)
• Sylenos (a beatnik, slacker satyr employed by the Carnival)

NOTE: Lewis Carroll was known to hide secret messages in his poems. I've done the same, revealing the campaign's big twist in one of the poems below. None of my players have picked up on it.

Part I: Welcome to the Witchlight

What Just Happened? (in the style of Jabberwocky)
’Twas twilight when the carnival Did open wide two golden gates, And those with tickets did arrive, Seeking things they had misplaced.
One harengon of curious size, A kobold with a slithy gait, An owlet who possessed two eyes As wide as Annam’s dinner plates.
Yet are we three or are we four? Let’s add vibrations rarefied: A Witchlight hand here to ensure That every guest is Satyrs-fied!
Enter now and taste the sounds, Feel these colours, smell those sights! Kaleidoscopic fun abounds This synaesthesiac’s delight!
Yet where’s the drama? Where’s the tension? Certainly we’ve had a switch (At least in here there is no mention Of that cad von Zarovich).
Instead let’s race a giant snail, Eat candied mushrooms by the pound, Or listen to a gnome assail The tightness of your mother’s gown.
Yet hark! A misadventure glum! Those not heroes please give berth! The best laid plans of love undone By Tasha’s wild unruly mirth
These mirrored halls! This desperate task, To find a luckless paramour A sweet-toothed lass with porcine mask That you could swear you’ve seen before…
’Twas twilight when the carnival Did open wide two golden gates And those with tickets did arrive, Now guided by the wiles of fate.
Dramatis Personae
Arix Specklefoot, a sweet-toothed owlin Holafina, a curiously short harengon Skerrek Tirael, a slithy kobold Sylenos, a cosmic satyr Nicholas Midnight, elderly goblin ticketmaster at the Witchlight Carnival Candlefoot, a mime and not by choice Rubin Sugarwood, a lovesick halfling Ween Sundapple, his laugh-sick paramour Glorange Turple, a poetry gnome
Certain Things Were Said
“I am worried about your ability to sense vibrations that I cannot.” - Skerrek Tirael
“Tymore, goddess of good fortune! Look well upon Shellymoo this day!” - Holafina
“Hate to say it, man, but that gnome really insulted your mother.” - Sylenos
“Snacks?” - Arix Specklefoot

Part II: Lost and Found

What Just Happened? (In the style of The Walrus and the Carpenter )
"The time has come," the Satyr said, "To talk of many things: Of poems—and props—and Jeremy Plum— Of crowns and pixie kings— And why things here keep getting lost— And what this pig-girl means."
"But wait a bit," the Owlin cried, "Before our minds do meet, For some of us are pretty spooked, And I would like a treat!" "No hurry!" said the Satyr, And kicked up cloven feet.
The Owlin and the Kobold Were walking close at hand, They smiled like anything to see The gates of Pixie Land. "If we could only stay a while,” They said, "it would be grand!"
The Satyr sighed so sulkily, Because he thought that Plum Had got no business to be there When all was said and done. (“It's rude of him," the Kobold said, "To try and spoil our fun!")
"Oi, Satyr," said the pixie king, "You've had a pleasant run! Should you be getting back to work?” But answer came there none And this was scarcely odd, because He had real beef with Plum.
Now Arix made a hamster friend Who offered up some clues. The others tried the riding-pug: A pleasant thing to do! (“The pug is fine," the Rabbit said, "But he’s no Shellymoo.”)
"How nice of you to come!” said Plum, "You all are oh-so kind!" Puddlemud said nothing as His teeth began to grind. The Owlin and the Kobold cheered: “That was our FAVORITE ride!”
“A wooden crown," fair Jexim said, Is what we need to come Our way along with golden paint For some un-princely sum.” The others stared, confused, and said: “Now where did YOU come from?”
‘Twas then the party dared approach The famous Mystery Mine Where psychedelic spectacles Broke the Satyr’s mind. (“I really wish,” Zephixo sighed, “You wouldn’t ride while high”).
Next Dirla pulled all kind of things Out of his wagon/portal: Bottles, bunnies, candlesticks, A shining blade of vorpal (Incidentally, there’s a word That kind of rhymes with purple).
“If you put your mind to it And searched for long enough, Do you suppose," the party said, "That you could find our stuff?" "I doubt it," said dear Dirlagraun, And gave a bitter huff.
Then he gave the Harengon The greatest gift by far: A copy of “Gnome On The Run” And bid them au revoir (Morgie would have laughed at that While struggling with slash “R”).
“I do believe,” the Satyr said, “That something is not right, And think we ought to pay a call To Messers Witch and Light.” “I think we ought,” the Owlin said “To first stop for a bite.”
But in their way old Thaco stood, A clown grown grim and surly: “Rabbit! Owlin! Pixie! Skink! You aren’t allowed to be-“ The Fairy interrupted him: “Wait, WHAT did you call me?”
Poor Thaco cried: “Things move too fast! And have since my debut In R-1: To the Aid of Falx From Nineteen Eighty Two! And if you’d seen what I have seen Then you’d smoke bubbles, too!”
Finally he stepped aside, At last the way was clear. The Satyr ambled stealthily With open eyes and ears And pressed them to a wagon large To see what he could hear.
"The time has come," Witch and Light said, "To talk of things galore Of prizes—plans—and kenku pests— and ever so much more— But first we’d better ask inside Those spying at our door!”
Dramatis Personae
Jexim, a puzzled, puzzling fairy Jeremy Plum, operator of the Pixie Kingdom and bestower of silly names Biscuit, a talkative hamster Pinecone, a riding-pug Zephixo, dwarven inventor and mastermind behind the Mystery Mine Ernest Wilde, middle-aged calliope master currently inhabiting the body of his pet monkey Marigold, his button-collecting goblin assistant Dirlagraun, a kindly but inefficient displacer beast, minder of lost children and property Thaco, a bubble-smoking clown who is long past his prime
Certain Things Were Said
"Worried I was, with talk of missing supper." - Arix Specklefoot
"Could you not just purchase a new pair?" - Skerrek Tirael "Not like this, man." - Sylenos
"If you'd see the things I've seen, you'd smoke a bubble pipe, too." - Thaco
"Is this it?" - Dirlagraun "NO." - Everyone

Part III: On the Trail of the Kenku

What Just Happened? (In the style of The Hunting of the Snark)
"Where the heck is our stuff? We just want to know This Harengon ain't getting bigger, Arix has no idea of where to go And lies send poor Skerrek a-quiver!"
"Would you get back to work?" Mister Light cried, Twirling his cane with a smile, "Otherwise find where this kenku pest hides; She's cramping this carnival's style!"
"Well, that was a bust," said our heroes, conferring, "Anyone got a suggestion? If we need to pull strings to get back our things Then there are some folk we should question."
"Time's an illusion, free will a delusion!" Sylenos' mentor decreed, "Get a contusion battling occlusions, Or relax and have some of this…wait, what was I saying?"
Sylenos proclaimed: "A genius flawed!" "A man/dragon ahead of his time." Skerrek looked at his claws; Holafina at paws, And the other two just rolled their eyes
"A centuar I'm not! I just made a bad trade The "Cloppinton's" just serendipitous, Now lend me your aid and you'll maybe persuade These horsies to drop some significance."
Then they took to the skies on a dragonfly ride (Holafina and Skerrek abreast), When you're this high there's just nowhere to hide (And to which Sylenos attests)
Now Skerrek honed on a runaway gnome Who was fleeing the carnage with glee, Holafina struck home and that's it for this poem For the gnome was the kenku, you see.
Dramatis Personae
Mister Witch, a matter-of-fact elf, devoid of pretense Mister Light, a flamboyant elf, luminous and coy Burly, a philosophical, pumpkin-helmeted bugbear Mandragon, a seeker of truth (and not much else) Diana Cloppington, a centaur who is apparently not, operator of the Carousel Northwind, a very forthcoming treant, operator of the Dragonfly Rides
Certain Things Were Said
"There’s something weird going on. For some reason everyone thinks I don’t do anything around the carnival." - Sylenos
"It's true, Miss Cloppinton! We've ALL lost things." - Arix Specklefoot
"Wait, when did we have biscuits?" - Jexim

Part IV: Through the Looking Glass

What Just Happened? (In the style of A Boat Beneath a Sunny Sky)
Now hear the Kenku’s strange reply (As Arix struggles to apply Triage to these pixie guys)
Asking questions, getting nought Set her on a different course: High sabotage without remorse!
And what has got her so irate Is what’s she trying to intimate: Zybilna has been quiet of late!
Ignore the rest, and let’s take flight To confront dear Witch and Light (Surprisingly, they’re quite contrite)
To keep the carnival in motion A tapestry of lies was woven: A deal with the Hourglass Coven!
Who take from those who can’t afford Entrance through the Witchlight’s doors Miscellanea adored
So THAT’s who taken all your junk! Time to find these Hourglass punks! Which way to this Feywild dump?
But first we’ll make a brief aside So Candlefoot can vocalise His mermaid love (now legalised)
Now the pair can tie the knot And while we’re passing time why not Ride the fabled Bubble Pot?
Yet ere you all are translocated (Everybody’s breath now bated) Arix must be coronated!
The time of truth has come at last Hesitation as you pass Though the hallowed looking glass
Are you afraid to lose your minds? What lies ahead? What lies behind? What do you expect to find?
Will Skerrek ever fabricate? Or Holafina emulate A bunny’s median height and weight?
Shall Jexim’s memoirs find acclaim? Can Monty locate Bobbitt Fane? (…hang on, that’s a different game)
Does Arix ever find the door? And will Sylennos flee the cause To study unemployment law?
Dramatis Personae
Kettlesteam, a mischievous patron of Zybilna Paleesha, a mellifluous mermaid, now reunited with Candlefoot
Certain Things Were Said
“Sylenos, perhaps in eight years you can come back and find your lost employment.” - Skerrek
“Ask me where the exit is.” - Arix Specklefoot “Where is the exit?” - Mister Light “I don’t know.” - Arix

I’m looking for a children’s book I had in the 90’s in Australia during my childhood. Each page was fully coloured and well illustrated.
The closest I can find online is a book called “The Book Of Witches” by Ruth Manning Sanders, and I think I remember my book having a similar title to this.
However, from what I can see online, this doesn’t seem to be the same book. The illustrations are different and so is the collection of stories inside..
A few stories I remember that were in there were: The Old Witch, & The Six Swans.. and there was a rhyme or a song near the front of the book about Witches celebrating Halloween, and dancing around a pumpkin patch under a full moon.
The cover was illustrated in dark, bold colours (purple and black from memory) and I’m pretty sure it had Witches, a Cauldron and trees on the front.
It was a very well illustrated book with a collection of classic fairy tales. Brothers Grimm etc. And from memory each one featured a witch.
The book also contained a few pages of rhymes / poems etc about witches that were not connected to a fairy tale but just featured as pages in the book.

I’m looking for a children’s book I had in the 90’s in Australia during my childhood. Each page was fully coloured and well illustrated.
The closest I can find online is a book called “The Book Of Witches” by Ruth Manning Sanders, and I think I remember my book having a similar title to this.
However, from what I can see online, this doesn’t seem to be the same book. The illustrations are different and so is the collection of stories inside..
A few stories I remember that were in there were: The Old Witch, & The Six Swans.. and there was a rhyme or a song near the front of the book about Witches celebrating Halloween, and dancing around a pumpkin patch under a full moon.
The cover was illustrated in dark, bold colours (purple and black from memory) and I’m pretty sure it had Witches, a Cauldron and trees on the front.
It was a very well illustrated book with a collection of classic fairy tales. Brothers Grimm etc. And from memory each one featured a witch.
The book also contained a few pages of rhymes / poems etc about witches that were not connected to a fairy tale but just featured as pages in the book.

It's one of my first poem. I don't know what's good or bad about it. Please advise. And what's missing to make it better
Trigger Warning: This poem contains graphic descriptions of childhood sexual abuse and trauma. Reader discretion is strongly advised.
At night I wake up crying, My voice is singing:
Hey diddle diddle, The Cat and the fiddle, The Cow jumped over the moon, The little Dog laughed to see such sport, And the Dish ran away with the Spoon
At night I wake up screaming, It’s the child still in me singing:
Hey Red Monster, The Cat and the fiddle, The Cow jumped over the moon, The little Dog laughed to see such sport, And the Dish ran away with the Spoon
At night, I wake up howling, I catch a glimpse of shadow In the mirror, bright red eyes.
Hey Red Monster, The Red Monster and the Little Boy, The Cow jumped over the moon, The little Dog laughed to see such sport, And the Dish ran away with the Spoon
At night I wake up crying, The Red Monster’s smell is horrible; As I flee into my imaginary haven: the Moon with the Spoon
Hey Red Monster, The Red Monster and the boy, The Red Monster jumped over the Little Boy, The Red Monster laughed to see such sport, And the Dish ran away with the Spoon
At night I wake up crying, Feeling the Red Monster’s love grip Twisting the song. I seek forgetness In the haven of the nursery rhyme.
I now know the Nightmare, memories flooding; Taste, smell, all my senses overwhelmed… The Red Monster everywhere, his two bright eyes!
Hey Red Monster, The Red Monster and the boy, The Red Monster jumped over the Little Boy, The Red Monster laughed to see such sport, And the Red Monster ran away with the Little Boy

It's my second poem in English (I'm French). I would really love your feedback and know what worked and what I need to improve. I'm looking forward for your feedback
At night I wake up crying, My voice is singing:
Hey diddle diddle, The Cat and the fiddle, The Cow jumped over the moon, The little Dog laughed to see such sport, And the Dish ran away with the Spoon
At night I wake up screaming, It’s the child still in me singing:
Hey Red Monster, The Cat and the fiddle, The Cow jumped over the moon, The little Dog laughed to see such sport, And the Dish ran away with the Spoon
At night, I wake up howling, I catch a glimpse of shadow In the mirror, bright red eyes.
Hey Red Monster, The Red Monster and the Little Boy, The Cow jumped over the moon, The little Dog laughed to see such sport, And the Dish ran away with the Spoon
At night I wake up crying, The Red Monster’s smell is horrible; As I flee into my imaginary haven: the Moon with the Spoon
Hey Red Monster, The Red Monster and the boy, The Red Monster jumped over the Little Boy, The Red Monster laughed to see such sport, And the Dish ran away with the Spoon
At night I wake up crying, Feeling the Red Monster’s love grip Twisting the song. I seek forgetness In the haven of the nursery rhyme.
I now know the Nightmare, memories flooding; Taste, smell, all my senses overwhelmed… The Red Monster everywhere, his two bright eyes!
Hey Red Monster, The Red Monster and the boy, The Red Monster jumped over the Little Boy, The Red Monster laughed to see such sport, And the Red Monster ran away with the Little Boy
my blog: https://deviantabstraction.com/2024/05/09/my-safe-place/
Critic 1: https://www.reddit.com/poetry_critics/comments/1crwka8/comment/l414ti0/ Critic 2: https://www.reddit.com/poetry_critics/comments/1crws4q/comment/l415gzp/

Eivor is a bit of a strange protagonist.
She’s basically flawless and without blame. She’s brash and bold, proud and unashamed — brave and wise far beyond her years, yet able to be soft and compassionate when not brandishing spears. She’s got a knack for leadership, a strong moral compass and an even stronger muscular system with which to enact justice.
And she’s got bars?
As someone not deeply versed in medieval European histories, imagine my shock and confusion upon discovering that Assassin’s Creed: Valhalla included rap battling.
My first experience with Flyting had me asking so many questions about what I just witnessed that I couldn’t wait to begin Googling. I figured flyting probably was historically accurate, but if that’s the case, then what else can it tells us about the medieval warrior and about Eivor’s characterization?
I set off to find out.
--
Wikipedia and howstuffworks combined gave me a robust definition of flyting.
A ritual, poetic exchange of insults practiced mainly between the 5th and 16th centuries. Examples of flyting are found throughout Scots, Ancient, Medieval and Modern Celtic, Old English, Middle English and Norse literature involving both historical and mythological figures. The exchanges would become extremely provocative, often involving accusations of cowardice or sexual perversion.
The idea behind flyting was to influence public opinion of the participants and raise both of their profiles. And each participant wanted to make himself look better than the other, even if they were friendly.
Not only that, but flyting’s also the first recorded use of shit as an insult. That right there is worth this whole essay and then some.
--
I came away from those definitions with some small Euphoria, as they reinforce what I already expected from Ubisoft — historically accurate and (arguably) immersive side activities grounded in realism.
Unfortunately, none of the flyting foes that Eivor faces in this fantasy are founded in any real-world flyters. I was particularly frustrated when I realized Fergal the Faceless and Borghild the Alewife’s Bane were fictional features, not real historical fiends of rhythm and rhyme.
Two of Eivor’s syntax competitors are “real” in some sense, however.
In Norse mythos, Odin, Thor, Loki, Freyja and more would handle their Family Matters over a flyte from time to time, dueling wits and words as competition and entertainment.
In fact, one flyte we do see in game — Odin as he flytes over the river with Thor in the Asgard Arc — is likely a reference to a real medieval Norse poem; The Hárbarðsljóð.
In it, Thor jaunts back to Asgard after a journey in Jötunheim. He comes to a junction in which he must jump a large river, and thus hunts down a ferryman to shepherd him across. The ferryman, Hárbarðr, is Odin in disguise. He then begins to diss guys.
Ahem. ‘Guys’ being Thor, obviously.
First, Odin drops a yo-mama joke:

Of thy morning feats art thou proud, but the future thou knowest not wholly; Doleful thine home-coming is: thy mother, me thinks, is dead.

He keeps going, taking more shots than a First Person Shooter, this time saying Thor dresses like a girl:

Three good dwellings methinks, thou hast not; Barefoot thou standest and wearest a beggar’s dress; Not even hose dost thou have.

Thor says watch your mouth before I clap back:

Ill for thee comes thy keenness of tongue, if the water I choose to wade; Louder, I ween, than a wolf thou cryest, if a blow of my hammer thou hast.

Odin replies by saying Thor’s wife is fucking another dude:

Sif has a lover at home, and him shouldst thou meet; More fitting it were on him to put forth thy strength.

The version we play out in game isn’t identical to the real-world poem, but carries some similarities; Thor’s threatening to cross the river to fight Odin as well as his boasting of slaying giants are present in each.
Ratatosk is the only other ‘real’ flyting enemy in Valhalla. While Odin doesn’t flyte with Ratatosk in Norse myth to my knowledge, the flyting against the squirrel is thematically accurate, at least.
Ratatosk’s purpose is to scramble up and down Yggdrasil, scurrying spoken messages from the eagle that sits at its peaks to the snake that slithers at its base. The nature of Ratatosk’s messages is in line with the act of flyting — the mischievous rodent carries falsehoods and aggressive statements to stir up drama and distrust between bird and serpent.
Flyting took place not only in poems and folklore, but in town squares and royal court. It was a facet of medieval life and social interaction. This weaving of prose then, in this time period, seemingly was just about as much of an admired skill as the swinging of a sword. It’s no wonder our unbreakable warrior Eivor is so proficient with word.
--
Like, really proficient with word.
I mean, I know it’s me choosing the dialogue options, but sheesh, is there anything she can’t do?
Actually, Eivor’s expertise in flyting is strange to me. It feels random and unearned — out of character, even. It comes more unexpectedly than Kendrick Lamar’s Not Like Us.
It probably only feels out of character, however, due to our modern understanding of proficiency with words versus proficiency with might. Our current interpretation of verbal ability compared to physical ability would perceive verbal ability as the ‘softer’ of the two skillsets. Physical strength is typically interpreted as tough and more dominant. You don’t expect to see an MMA fighter composing poetry, do you? The qualities that modern thought attributes to writing and physicality don’t mesh.
But in reality — and historically accurately in Valhalla — medieval warriors weren’t just blind berserkers. They were actually artists, poets and writers.
We’ve already demonstrated how Odin and Thor — Norse myth’s most famous warriors — carried out flyting. Thus, medieval Vikings would’ve surely done the same. Beyond Vikings though, the Illiad contains instances of public, ritualized abuse. Taunting songs are present in Inuit culture while Arabic poetry contains a form of flyting called naqa’id. Further, Japanese Samurai were known to be frequent composers of haiku, while Japanese culture also gave birth to Haikai, poetry in which vulgar satire and puns were wielded.
This historical accuracy ends up eliminating the randomness of Eivor’s flyting ability. Despite her verbal finesse feeling unearned, we can surmise historically that Eivor has practiced the wielding of words plenty in her life before we take over as the player. She’s dedicated time to this.
Now that we know why she has it, we can take a closer look at what it does for her.
--
So, Eivor can rap. She can match you with her axe or she can match you with her words. She’s just about unbeatable.
Her mastery of words demonstrates on some level that she’s not all Push Ups and might is right. She’s not all bruiser and bluster, burn and berserk. She’s an appreciator of the finer things — the more abstract, mental skills that require brain power, deftness and finesse.
This duality of strength and genius rounds out Eivor into a deeper, richer, more admirable character. More than just raw muscle in pursuit of glory, Eivor’s mastery of verse demonstrates her prioritizing not just her body, but her mind.
And it goes a long way for her.
Eivor can use her prowess with prose to progress past pointless plot points throughout Valhalla’s plethora of arcs and missions. It’s just a stat check in the end, but with enough practice flyting and enough charisma gained, Eivor unlocks new dialogue options that bend the world around her to her will.
Witch hunters in Eurvicscire on the brink of terrorizing Moira can be dispersed verbally rather than brawled or killed. There’s an entire riddle-solving fetch quest in Wincestre that can be skipped completely by telling King Aelfred’s abbot fuck off (figuratively). Eivor’s sharpening of her mind protects her body, saves her time, and allows her to frictionlessly fell her endeavors.
Her articulate advances don’t just alter her into admirability, they allow her to influence people and progression. With semantics from her mouth and twists from her tongue, Eivor can have her way whenever she wishes. In a game this large, I’m only left longing that the opportunity to make use of this charisma wasn’t relegated to niches.
Regardless, if medieval England is butter, Eivor’s tongue is the hot knife that behooves her move through her subduing more smoothly.
It all just goes to show that ̶m̶i̶g̶h̶t̶ flyte is right.

Week 3: Limericks and the Art of Humor
Day 1: Decoding Limericks - Activity: Analyze classic limericks for rhythm and humor. - Lecture: Discuss the AABBA rhyme scheme and distinctive rhythm. - Discussion: Share favorite humorous poems and discuss elements that make them funny.
Day 2: Crafting Limericks with Wit - Activity: Write limericks individually, focusing on humor and rhythm. - Lecture: Explore the balance of humor and structure in limericks. - Discussion: Share and discuss individual limericks, highlighting successful elements.
Day 3: Understanding Free Verse - Activity: Analyze free verse poems for structure and expression. - Lecture: Introduce the concept of free verse and its flexibility. - Discussion: Discuss the liberation and challenges of writing without a strict structure.
Day 4: Writing Exercise - Expressing Emotions in Free Verse - Activity: Explore emotions and write a free verse poem. - Assignment: Craft a free verse poem exploring a personal experience or emotion. - Vocabulary Words: Enjambment, Cadence, Anapest.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for free verse poems. - Lecture: Discuss the artistic freedom and impact of free verse. - Discussion: Share insights gained from reviewing peers' free verse poems.
Study Guide Questions for Week 3: 1. What defines a limerick, and how does its rhythm contribute to its humor? 2. Discuss the importance of the AABBA rhyme scheme in limericks. 3. How does free verse differ from structured forms of poetry? 4. Explore the challenges and benefits of writing without a strict form in free verse. 5. Reflect on the emotions and experiences expressed in your free verse poem.
Quiz: Assessment on limericks, the AABBA rhyme scheme, and the principles of free verse.
Week 4: Free Verse and Acrostic Poetry
Day 1: Embracing Free Verse - Activity: Analyze diverse free verse poems for individual expression. - Lecture: Discuss famous free verse poets and their impact on the genre. - Discussion: Share personal reactions to the artistic freedom of free verse.
Day 2: Crafting Emotion in Free Verse - Activity: Write a free verse poem expressing a specific emotion. - Lecture: Explore the role of emotions in free verse and the use of vivid imagery. - Discussion: Share and discuss individual poems, highlighting emotional impact.
Day 3: Understanding Acrostic Poetry - Activity: Analyze acrostic poems for clever wordplay. - Lecture: Explain the concept of acrostic poetry and its various forms. - Discussion: Share examples of creative acrostic poems.
Day 4: Writing Exercise - Personal Acrostic - Activity: Craft an acrostic poem using your name or a chosen word. - Assignment: Write an acrostic poem exploring a theme or concept. - Vocabulary Words: Strophe, Stanza, Consonance.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for acrostic poems. - Lecture: Discuss the playfulness and creativity of acrostic poetry. - Discussion: Share insights gained from reviewing peers' acrostic poems.
Study Guide Questions for Week 4: 1. Explore the role of emotions in free verse poetry. How does it differ from structured forms? 2. Discuss the impact of vivid imagery in free verse. How does it contribute to the overall message? 3. What defines acrostic poetry, and how is it different from other forms? 4. How can clever wordplay enhance the impact of an acrostic poem? 5. Reflect on the creative process and thematic exploration in your acrostic poem.
Quiz: Assessment on understanding free verse, emotional expression in poetry, and the principles of acrostic poetry.

1. Parallelismus Membrorum:

- *Definition:* A rhetorical device where phrases or sentences are structured in parallel form. - *Example:* Create a poem using parallelismus membrorum to emphasize a profound truth or observation. 

1. Rubaiyat:

- *Definition:* A form of Persian poetry with quatrains and a specific rhyme scheme. - *Example:* Write a rubaiyat exploring the themes of love, mortality, or philosophical reflections. 

1. Blues Poem:

- *Definition:* Poetry inspired by the musical and emotional elements of blues music. - *Example:* Craft a blues poem expressing the struggles and resilience of everyday life. 

1. Erasure Poetry:

- *Definition:* Creating poetry by erasing or blacking out existing text, leaving only selected words visible. - *Example:* Create an erasure poem using a page from a newspaper or a novel, transforming it into a new narrative. 

1. Anaphora:

- *Definition:* A rhetorical device involving the repetition of a word or phrase at the beginning of successive clauses. - *Example:* Write a poem using anaphora to convey a sense of urgency or reflection. 

1. Tetractys:

- *Definition:* A five-line poem with a specific syllable count (1, 2, 3, 4, 10). - *Example:* Craft a tetractys exploring the stages of personal growth or a transformative experience. 

1. Sijo:

- *Definition:* A traditional Korean poetic form with three lines, each with fourteen to sixteen syllables. - *Example:* Write a sijo capturing a moment of beauty or introspection. 

1. Blitz Poem:

- *Definition:* A form of poetry with a rapid, stream-of-consciousness style and repetition. - *Example:* Create a blitz poem exploring the chaos and beauty of urban life. 

1. Epitaph:

- *Definition:* A short inscription on a tombstone or a commemorative poem for the deceased. - *Example:* Write an epitaph honoring a fictional or historical figure with a poignant message. 

1. Prothalamion:

- *Definition:* A poem celebrating a forthcoming marriage or wedding. - *Example:* Craft a prothalamion capturing the anticipation and joy surrounding a wedding day. 

A sonnet is a 14-line poem with a specific rhyme scheme and meter. The two most common types of sonnets are the Shakespearean (or English) sonnet and the Petrarchan (or Italian) sonnet.

1. Shakespearean Sonnet (or English Sonnet):
   
   • Consists of three quatrains (four-line stanzas) followed by a rhymed couplet (two-line stanza).
   • Rhyme scheme: ABABCDCDEFEFGG.
   • Typically written in iambic pentameter (ten syllables per line with emphasis on every second syllable).
2. Petrarchan Sonnet (or Italian Sonnet):
   
   • Comprises an octave (eight-line stanza) followed by a sestet (six-line stanza).
   • Rhyme scheme for the octave: ABBAABBAA.
   • Rhyme scheme for the sestet: Various patterns, such as CDCDCD or CDECDE.
   • Often written in iambic pentameter.

Sonnets are known for their structured and intricate form, and they are commonly used to express themes of love, beauty, nature, and the complexities of human emotions. Notable poets who wrote sonnets include William Shakespeare, Petrarch, and Elizabeth Barrett Browning.
Upon the street, where bustling crowds align (A) A newspaper salesman, sturdy stand (B) His papers rustling in the breezy grand (A) In ink-stained hands, his stories intertwine (B)
With every headline, tales unfold, unfold (C) Of distant lands and local joys and strife (D) His voice, a herald in the urban life (C) Echoing narratives, both young and old (D)
Through ink and paper, stories find their flight (E) He's not just selling news, but dreams untold (F) Each page a canvas, vivid tales in sight (E)
In city hum, where stories often fold (F) He stands, a keeper of the printed lore (G) A newsman's heart, with every paper, more (G)

Hi guys, I wrote this poem about a relatively new love and it’s exactly the way that I feel but i don’t know if i should share it with them. Let me know what u think.
The things I should say to you
A thousand bolts adorn the door A door that I never asked for One that was built brick by brick Over time that has burned off a crumbling wick
So much time spent in front of this door I’ve grown quite familiar with what lies before A garden of sorts, filled with shrubs and ivy All the invasive things that make this life feel a little more lively
I feel like I was born without a key And a piece of my soul exists outside of me So I search and I search for that one wildflower The thing that could make centuries feel like days and decades like hours
Then you appeared, not just as a fleeting trace But as the sun redefining the entire space You inverted shadows and light, turned ounces into pounds The first one to open my mind to looking at my garden upside down
I can now see the flowers underneath it all You helped me dig just deep enough to uncover a remedy in my fall I’ve gone from “What good is a garden that’s all dug up?” To wanting to sit on my knees for hours; each plant I will pluck
Because with you it isn’t scary; you make me feel a calmness I’ve never felt before The silence that we share would bring the heavens to the floor You are the missing piece to a puzzle that is already complete You add something otherworldly—your protective fleet
I said it to my mom and I’ll say it again - I can’t believe you’re real The symphonies you breathe into me are ones I thought only Romeo and Juliets could feel It’s the kind of love that feels like a musical note perfectly in time To make you feel seen, I would make every aspect of you rhyme
I can say I’ve never been a builder and it would be true My hands more comfortable constructing barriers than building anew But I would build homes to give you space Teach my table to have a seat, to reserve for you a place
I’ve found so many wildflowers already in the places our love has grown I know our table will one day be covered in gardens that we’ve sown I feel the most beautiful peace when I lay my head on you to rest I wonder if God's trying to speak to me through the music I hear in your chest

Please let me know what you guys think of this poem. It’s exactly how I feel about a new love but I don’t know if i should share it with them.
A thousand bolts adorn the door A door that I never asked for One that was built brick by brick Over time that has burned off a crumbling wick
So much time spent in front of this door I’ve grown quite familiar with what lies before A garden of sorts, filled with shrubs and ivy All the invasive things that make this life feel a little more lively
I feel like I was born without a key And a piece of my soul exists outside of me So I search and I search for that one wildflower The thing that could make centuries feel like days and decades like hours
Then you appeared, not just as a fleeting trace But as the sun redefining the entire space You inverted shadows and light, turned ounces into pounds The first one to open my mind to looking at my garden upside down
I can now see the flowers underneath it all You helped me dig just deep enough to uncover a remedy in my fall I’ve gone from “What good is a garden that’s all dug up?” To wanting to sit on my knees for hours; each plant I will pluck
Because with you it isn’t scary; you make me feel a calmness I’ve never felt before The silence that we share would bring the heavens to the floor You are the missing piece to a puzzle that is already complete You add something otherworldly—your protective fleet
I said it to my mom and I’ll say it again - I can’t believe you’re real The symphonies you breathe into me are ones I thought only Romeo and Juliets could feel It’s the kind of love that feels like a musical note perfectly in time To make you feel seen, I would make every aspect of you rhyme
I can say I’ve never been a builder and it would be true My hands more comfortable constructing barriers than building anew But I would build homes to give you space Teach my table to have a seat, to reserve for you a place
I’ve found so many wildflowers already in the places our love has grown I know our table will one day be covered in gardens that we’ve sown I feel the most beautiful peace when I lay my head on you to rest I wonder if God's trying to speak to me through the music I hear in your chest

It's one of my first poem. I would really love your feedback and know what worked and what I need to improve. I'm looking forward for your feedback
At night I wake up crying, My voice is singing:
Hey diddle diddle, The Cat and the fiddle, The Cow jumped over the moon, The little Dog laughed to see such sport, And the Dish ran away with the Spoon
At night I wake up screaming, It’s the child still in me singing:
Hey Red Monster, The Cat and the fiddle, The Cow jumped over the moon, The little Dog laughed to see such sport, And the Dish ran away with the Spoon
At night, I wake up howling, I catch a glimpse of shadow In the mirror, bright red eyes.
Hey Red Monster, The Red Monster and the Little Boy, The Cow jumped over the moon, The little Dog laughed to see such sport, And the Dish ran away with the Spoon
At night I wake up crying, The Red Monster’s smell is horrible; As I flee into my imaginary haven: the Moon with the Spoon
Hey Red Monster, The Red Monster and the boy, The Red Monster jumped over the Little Boy, The Red Monster laughed to see such sport, And the Dish ran away with the Spoon
At night I wake up crying, Feeling the Red Monster’s love grip Twisting the song. I seek forgetness In the haven of the nursery rhyme.
I now know the Nightmare, memories flooding; Taste, smell, all my senses overwhelmed… The Red Monster everywhere, his two bright eyes!
Hey Red Monster, The Red Monster and the boy, The Red Monster jumped over the Little Boy, The Red Monster laughed to see such sport, And the Red Monster ran away with the Little Boy
my blog: https://deviantabstraction.com/2024/05/09/my-safe-place/
Comment 1: https://www.reddit.com/OCPoetry/comments/1cp3bts/comment/l3xcwn3/ Comment 2: https://www.reddit.com/OCPoetry/comments/1cp2n4w/comment/l3xch8b/

There has been a lot of discourse surrounding the name and mascot vote for the team, and I wanted to lay out what I believe makes a good team name, as well as which of the popular choices best fit.
For this purpose, I’ll use the most common names I see thrown around as potential favorites from what was included in the official vote:

• Outlaws
• Mammoth
• Yeti
• Swarm
• Mountaineers
• Black Diamonds

1 The name should have ties to the location of the team

I understand that there are a number of teams that don’t have any connection to where they are based out of, but that doesn’t change the fact that it’s a somewhat dumb argument to make. For the vast majority of teams, the name has some reason. It can be something historical like the Jazz being passed on from New Orleans and is now part of Utah’s history even though we don’t have a raging jazz scene. It can be tied in with the local wildlife or geographical surroundings of the area like the Coyotes were in Arizona. I could go on with more examples, but the point is:
We are choosing a new name to represent Utah’s NHL team, and that name should represent Utah.
From this requirement, we can narrow down the list to the following possible names:

• Outlaws - History of outlaws in Utah from Butch Cassidy to the Sundance Kid
• Mammoth - Mammoth remains have been found here
• Swarm - Known as the “Beehive State”
• Mountaineers - Mountains. Not really needing much of an explanation
• Black Diamonds - Known for skiing and snowboarding

2 The name should be unique to the major professional sports

I understand that some (looking at you Colorado) are up in arms about their precious Lacrosse teams that are already using the names Mammoth and Outlaws. Unfortunately, It’s going to be near impossible to find a name that is good, and hasn’t been used somewhere before. As long as we’re keeping it unique within the major leagues, it doesn’t really matter if some lacrosse, ultimate frisbee, or your cousin's little league team shares a name. The Utah NHL team would immediately become the most popular team with those names. The vast majority of people you’d ask would have never heard of any of those teams before. Not a knock on the sport itself, but sharing a name with a lacrosse team is an absolute non issue. It’s just not popular enough to make a difference. If anything, maybe it helps draw some attention to the existing team.
They left out names that people really like (Raptors) because it’s already in use for a large professional team. You have to draw the line somewhere, because it’s going to be too hard to have a 100% original name that checks all the boxes.
None of the names remaining are already in use among the 4 major leagues, so we can just move on.

3 The name should be cool and provide a unique branding opportunity

This one is more self explanatory. It can come down to opinion, but since it’s my post, I’ll give mine. I think all of these are unique, but Mountaineers feels like the branding would be easy to fall short. It has potential, but there’s also a chance to get something really boring and generic. The others feel more fool proof, so we’ll remove Mountaineers here.

• Outlaws
• Mammoth
• Swarm
• Black Diamonds

4 The name should flow of the tongue nicely

This one is an awkward one to qualify one name over the other. None of the remaining names have a real alliteration, Yeti being the closest as the start of Utah and Yeti have a similar sound. Utah Outlaws has a near rhyme with the -ah and -law.
While those fit the best, I don’t feel that any are serious offenders of coming out of the mouth awkwardly. For the sake of narrowing the list down, I’ll remove Black Diamonds since it’s just a little bit of a mouthful.
This leaves the list here, with Outlaws having a slight edge in this category:

• Outlaws
• Mammoth
• Swarm

From here, it’s just a matter of choosing your favorite of the remaining names.
The last point really could be finding the name that feels the most "classic". New team names usually stand out from the rest of the league that has old names, established in history. Look at the Oilers compared to the Kraken. It doesn't quite feel right.
To me, Swarm sounds a little XFL/WNBAish. I wouldn’t hate it, but I think it’s the worst of the remaining names.
Mammoth is cool and fits the “cold” theme that they are apparently in love with based off the other names, but the name that I feel check all of the boxes the best is clearly Outlaws.
Classic sounding name with historical ties to Utah, feels like it should already be a team in one of the 4 major leagues but is somehow still available to be claimed and uniquely used, is easy and cool branding, and rhymes with Utah to make it come off the tongue easily. It can also be shortened to “Laws” which is equally cool.
Please vote accordingly.
Tl;dr There are some decent options, but Outlaws checks all the boxes.

A poem I found on the internet maybe in sometime in 2000-2010, its a continuation/analys of the age old question "How much wood could a woodchuck chuck".
I'm aware of the Monkey Island continuation... "A woodchuck could chuck no amount of wood since a woodchuck can't chuck wood... But if a woodchuck could chuck and would chuck..." and so on. But that's only 5 lines.
And what I'm looking for isn't that, this went on for a solid page. I believe it went into more abstract things like economics... It read like an essay, but was so full of rhymes and wordplay that it could also be considered a poem. It was quite funny.
I though it would be easy to find... but no.

Unveiling the Allure of the Ghazal Form**
Summary:
A ghazal is a poetic form with Middle Eastern origins, typically composed of rhyming couplets and a repeating refrain. Each line of the poem shares a common meter, and the last word of the second line in each couplet rhymes throughout the poem.
Examples:

1. "The Beloved" by Rumi.
   
2. "Ghazal" by Agha Shahid Ali.
   
3. "The Ghazal of What Hurt" by Peter Cole.
   

Tips for Creative Writing:

• Embrace Repetition: The consistent refrain creates a melodic quality.
  
• Convey Emotional Intensity: Ghazals often explore themes of love, loss, and longing.
  
• Play with Imagery: Use vivid imagery and metaphor to enhance the emotional impact.
  

Questions for Exploration:

1. How does the repetition of the refrain contribute to the overall tone of the ghazal?
   
2. Can you think of other cultural traditions that incorporate similar poetic forms?
   

Additional Resources:

• Read the works of contemporary poets like Fatimah Asghar and Safia Elhillo for modern ghazals.
  
• Explore classical ghazals by Mirza Ghalib for insights into the traditional form.
  

Creative Writing Prompt:
Step 1: Choose a theme or emotion to explore in your ghazal.
Step 2: Craft the first rhyming couplet with a meaningful refrain.
Step 3: Continue developing the theme in subsequent couplets, maintaining the rhyme scheme.
Example:
In the night's embrace, a silent moonlight gleams (A) Lost in the echoes, the heart silently dreams (A) Whispers of love in the gentle night's streams (A) A ghazal's refrain, where longing redeems (A)

Week 7: Limericks and Acrostic Poetry - Lecture and Discussion
Objective: - Explore the whimsical nature of limericks and the creative use of acrostic poetry. - Understand the structure and humor in limericks. - Discuss the artistic possibilities of using acrostic forms.
Day 1: Introduction to Limericks - Lecture: - Definition and characteristics of limericks. - Explanation of the AABBA rhyme scheme and humorous themes.

• Discussion Questions:
  1. What appeals to you about the whimsical nature of limericks?
  2. How does the AABBA rhyme scheme contribute to the humor in limericks?
  3. Can you think of any famous limericks or poets known for this style?

Day 2: Analyzing Limericks - Part 1 - Lecture: - In-depth analysis of classic limericks. - Exploration of the distinctive rhythm and structure.

• Discussion Questions:
  1. How does the AABBA rhyme scheme and rhythm contribute to the comedic timing in limericks?
  2. What humorous themes or scenarios are commonly found in limericks?
  3. Share your thoughts on the importance of concise storytelling in limericks.

Day 3: Analyzing Limericks - Part 2 - Lecture: - Discussing modern variations and themes in limericks. - Exploring the versatility of the form.

• Discussion Questions:
  1. How have modern limericks evolved in terms of themes and structure?
  2. In what ways does the whimsical nature of limericks allow for creative expression?
  3. Share examples of humorous scenarios that might work well in a limerick.

Day 4: Crafting Limericks - Part 1 - Lecture: - Step-by-step guide on crafting the first three lines of a limerick. - Emphasis on establishing humor and rhythm.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first three lines of a limerick?
  2. How can you establish humor and rhythm within the concise structure?
  3. Share examples of humorous scenarios you might explore in a limerick.

Day 5: Crafting Limericks - Part 2 - Lecture: - Step-by-step guide on crafting the final two lines of a limerick. - Emphasis on creating resolution and punchline.

• Discussion Questions:
  1. Why are the final two lines crucial in providing resolution and a punchline in a limerick?
  2. How can a limerick deliver a humorous twist or surprise within its structure?
  3. Share and discuss individual limericks, highlighting successful elements.

Homework Assignment: - Craft a limerick focusing on a humorous scenario or theme.
Study Guide Questions: 1. Reflect on the challenges of crafting the first three lines of your limerick. How did you establish humor and rhythm? 2. How did you approach creating resolution and a punchline in the final two lines of your limerick? 3. What insights did you gain from the process of crafting a limerick?
Quiz: Assessment on the understanding of limericks, their AABBA rhyme scheme, and the use of humor within the concise form.
Day 6: Introduction to Acrostic Poetry - Lecture: - Definition and characteristics of acrostic poetry. - Exploration of arranging words vertically to create hidden messages.

• Discussion Questions:
  1. What interests you about the creative use of acrostic forms?
  2. How might the arrangement of words vertically enhance the poetic experience in acrostic poetry?
  3. Can you think of any famous acrostic poems or poets known for this style?

Day 7: Analyzing Acrostic Poetry - Part 1 - Lecture: - In-depth analysis of classic acrostic poems. - Exploration of the different approaches to selecting and arranging words.

• Discussion Questions:
  1. How does the vertical arrangement of words contribute to the overall impact of acrostic poetry?
  2. What unique perspectives or insights can arise from using acrostic forms in poetry?
  3. Share your thoughts on the relationship between the hidden message and the overall theme in acrostic poems.

Day 8: Analyzing Acrostic Poetry - Part 2 - Lecture: - Discussing modern variations and themes in acrostic poetry. - Exploring the diverse ways poets engage with vertical arrangements.

• Discussion Questions:
  1. How have modern poets expanded the themes and approaches in acrostic poetry?
  2. In what ways does the incorporation of vertical arrangements broaden the possibilities in written expression?
  3. Share examples of themes or concepts suitable for acrostic poetry.

Week 15-16: Triolets and Kyrielles
Day 1: Mastering Triolets - Activity: Analyze a classic triolet for its compact structure and repetition. - Lecture: Discuss the characteristics and rhyme scheme of triolets. - Discussion: Share thoughts on the impact of repeated lines in a compact form.
Day 2: Crafting Triolets with Precision - Activity: Break down the process of crafting a triolet. - Lecture: Explore the use of repetition and economy of language in triolets. - Discussion: Share and discuss individual triolets, focusing on the success of repetition.
Day 3: Embracing the Kyrielle - Activity: Analyze a famous kyrielle for its repeating lines and rhythmic qualities. - Lecture: Explain the structure and thematic possibilities of kyrielles. - Discussion: Discuss the challenges and beauty of crafting poems with repeated lines.
Day 4: Writing Exercise - Developing a Kyrielle - Activity: Craft a kyrielle exploring themes of resilience or change. - Assignment: Write a triolet on a chosen subject. - Vocabulary Words: Refrain, Rhyme Scheme, Narrative Possibilities.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for triolets and kyrielles. - Lecture: Discuss the impact of repeated lines in triolets and the thematic possibilities of kyrielles. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 15-16: 1. Discuss the characteristics and rhyme scheme of triolets. How does repetition contribute to their impact? 2. Explore the use of repetition and economy of language in crafting triolets. 3. What defines a kyrielle, and how do its repeating lines contribute to its thematic possibilities? 4. Discuss the challenges and beauty of crafting poems with repeated lines in kyrielles. 5. Reflect on the process of crafting triolets and kyrielles. How did you approach the themes and rhythmic qualities?
Quiz: Assessment on triolets, kyrielles, and the impact of repeated lines in poetry.
Week 17-18: Ode to Joyful Ballads
Day 1: Writing Joyful Odes - Activity: Analyze classic odes for their celebratory nature. - Lecture: Discuss the characteristics and structure of odes. - Discussion: Share personal experiences or topics worthy of celebration.
Day 2: Crafting Odes with Precision - Activity: Break down the process of crafting an ode. - Lecture: Explore the use of vivid language and poetic devices in odes. - Discussion: Share and discuss individual odes, highlighting successful elements.
Day 3: Understanding Narrative Ballads - Activity: Analyze a famous ballad for its storytelling qualities. - Lecture: Explain the narrative structure and musicality of ballads. - Discussion: Discuss the challenges and beauty of crafting narrative ballads.
Day 4: Writing Exercise - Crafting a Ballad - Activity: Craft a ballad recounting a personal or fictional tale. - Assignment: Write an ode celebrating an everyday object or experience. - Vocabulary Words: Ode, Stanza, Narrative Structure.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for odes and ballads. - Lecture: Discuss the celebratory nature of odes and the storytelling qualities of ballads. - Discussion: Share insights gained from reviewing peers' work.
Study Guide Questions for Week 17-18: 1. Discuss the characteristics and structure of odes. How do odes differ from other poetic forms? 2. Explore the use of vivid language and poetic devices in crafting odes. 3. What defines a ballad, and how does its narrative structure contribute to its storytelling qualities? 4. Discuss the challenges and beauty of celebrating everyday objects or experiences in odes. 5. Reflect on the process of crafting odes and ballads. How did you approach celebratory themes and storytelling?
Quiz: Assessment on the understanding of odes, ballads, and the use of vivid language in poetry.

1. Clerihew:

- *Definition:* A whimsical, four-line biographical poem with irregular meter. - *Example:* Craft a clerihew about a famous historical figure or a friend with a humorous twist. 

1. Quatrain:

- *Definition:* A stanza or poem consisting of four lines, often rhymed. - *Example:* Write a quatrain reflecting on the beauty of simplicity in everyday life. 

1. Double Dactyl:

- *Definition:* A light, humorous poem with strict structure and two quatrains. - *Example:* Create a double dactyl capturing a comical moment or character. 

1. Terzanelle:

- *Definition:* A hybrid of the terza rima and villanelle, with 19 lines and a specific rhyme scheme. - *Example:* Craft a terzanelle exploring the cyclical nature of seasons and life. 

1. Haibun:

- *Definition:* A combination of prose and haiku, often describing a journey or experience. - *Example:* Write a haibun narrating a meaningful travel experience, complemented by haikus. 

1. Golden Shovel:

- *Definition:* A form where the last word of each line is taken from an existing poem. - *Example:* Create a golden shovel poem using a line from your favorite poem or song. 

1. Villancico:

- *Definition:* A Spanish poetic and musical form, often festive and celebratory. - *Example:* Craft a villancico capturing the joy of a special occasion or holiday. 

1. Tercet:

- *Definition:* A stanza or poem consisting of three lines. - *Example:* Write a tercet expressing the beauty of resilience in the face of adversity. 

1. Sevenling:

- *Definition:* A seven-line poem with a specific pattern and often narrative in nature. - *Example:* Compose a sevenling reflecting on a vivid childhood memory. 

1. Palindrome Poetry:

- *Definition:* A poem that reads the same backward as forward. - *Example:* Write a palindrome poem exploring the balance between chaos and order. 

1. Sonnet:

• Definition: A 14-line poem, often expressing love or deep emotion, with various rhyme schemes.
  
• Example: Write a sonnet exploring the theme of unrequited love.
  

1. Haiku:

• Definition: A traditional Japanese poem with three lines and a 5-7-5 syllable count.
  
• Example: Craft a haiku capturing the essence of a serene moment in nature.
  

1. Villanelle:

• Definition: A 19-line poem with five tercets followed by a quatrain, using repeated lines.
  
• Example: Create a villanelle about the passage of time and its impact on memories.
  

1. Limerick:

• Definition: A humorous, five-line poem with a distinctive rhythm (AABBA).
  
• Example: Compose a limerick about a quirky character or situation.
  

1. Free Verse:

• Definition: Poetry with no set rhyme scheme or meter, allowing for free expression.
  
• Example: Write a free verse poem exploring the complexities of human relationships.
  

1. Acrostic:

• Definition: A poem where the first letter of each line spells out a word or message.
  
• Example: Create an acrostic using your name, describing your personality or aspirations.
  

1. Ghazal:

• Definition: A poetic form with rhyming couplets and a repeating refrain.
  
• Example: Craft a ghazal expressing the bittersweet nature of love and longing.
  

1. Tanka:

• Definition: A Japanese poem with five lines and a 5-7-5-7-7 syllable count.
  
• Example: Write a tanka capturing the fleeting beauty of a sunset.
  

1. *Cinquain:

• Definition: A five-line poem with a specific syllable count per line (2-4-6-8-2).
  
• Example: Create a cinquain describing the essence of a quiet winter evening.
  

1. Pantoum:

- *Definition:* A poem with repeating lines and a specific pattern, often used for reflection. - *Example:* Craft a pantoum exploring the cyclical nature of life and change. 

1. Imagery: Prompt: Transport your readers to a new setting by vividly describing it. Utilize sensory details to paint a rich picture of the surroundings, allowing readers to immerse themselves in the scene.
   
2. Metaphor: Prompt: Develop a metaphor within a character's internal monologue to convey their emotions or thoughts. Compare their feelings to an object or experience, providing insight into their perspective.
   
3. Simile: Prompt: Introduce a character by using similes to describe their physical appearance, mannerisms, or personality traits. Compare them to elements familiar to the reader, fostering a deeper understanding.
   
4. Rhyme: Prompt: Write a dialogue exchange between characters where their words unintentionally rhyme. Experiment with incorporating rhyme organically into their conversation to add a touch of whimsy or humor.
   
5. Meter: Prompt: Craft a tense or suspenseful scene in your novel using a specific meter, such as trochaic or dactylic. Pay attention to the rhythmic beats to amplify the tension in the atmosphere.
   
6. Alliteration: Prompt: Create a moment of heightened drama by using alliteration in a character's internal thoughts during a crucial decision or revelation. Emphasize the emotional impact through the repetition of consonant sounds.
   
7. Assonance: Prompt: Develop a scene where the assonance of vowel sounds heightens the emotional resonance. Explore how the repetition of specific vowel sounds can evoke a certain mood or atmosphere.
   
8. Personification: Prompt: Infuse life into an inanimate object within a scene. Describe its actions, reactions, and emotions as if it possesses human qualities, enriching the overall narrative.
   
9. Symbolism: Prompt: Integrate a symbolic element into a pivotal scene. Choose an object or aspect that represents deeper meaning within the context of the story, allowing it to serve as a metaphor for larger themes.
   
10. Enjambment: Prompt: Construct a scene with enjambment in the characters' dialogue. Allow their sentences to flow seamlessly from one line to the next, creating a dynamic and engaging conversation.
    
11. Repetition: Prompt: Convey a character's inner turmoil by repeating a key word or phrase throughout a scene. Explore how this repetition amplifies the intensity of their emotions and thoughts.
    
12. Free Verse: Prompt: Break free from traditional narrative structures in a climactic scene. Write without constraints, allowing the emotional intensity of the moment to guide the form and flow of your prose.
    
13. Stanza: Prompt: Divide a chapter into stanzas, each representing a distinct moment or perspective. Explore how this organizational structure enhances the pacing and thematic development of the scene.
    
14. Theme: Prompt: Develop a scene that revolves around a central theme of your novel. Ensure that the characters, events, and emotions within the scene contribute to the exploration and expression of that theme.
    
15. Tone: Prompt: Shift the tone within a scene to evoke contrasting emotions. Guide your readers through a rollercoaster of feelings by strategically altering the atmosphere and mood as the scene unfolds.
    
16. Connotation: Prompt: Introduce a word with strong connotations into a character's dialogue or thoughts. Explore the nuanced emotions and associations tied to the word within the context of the scene.
    
17. Irony: Prompt: Create a scene where irony plays a pivotal role in the characters' interactions or the unfolding events. Showcase situations where the intended and actual outcomes diverge, adding layers of complexity.
    
18. Allusion: Prompt: Embed an allusion to a well-known literary work or historical event within a scene. Explore how this reference enhances the depth and meaning of the narrative for readers familiar with the source material.
    
19. Syntax: Prompt: Experiment with sentence structure in a climactic scene. Use varied syntax to heighten tension, emphasize key points, or mirror the characters' emotional states.
    
20. Diction: Prompt: Set the mood of a scene by carefully selecting the characters' dialogue and narration. Choose words that align with the desired atmosphere, influencing the overall tone of the narrative.
    

A pantoum is a poetic form that originated in Malaysia and has been adapted into various languages. It consists of a series of quatrains (four-line stanzas) where the second and fourth lines of each stanza are repeated as the first and third lines in the following stanza. The pattern continues until the final stanza, where the second and fourth lines of the last quatrain are the same as the first and third lines of the first quatrain.
Key features of a pantoum include:

1. Repetition: The repeated lines create a circular, looping effect, giving the pantoum a unique structure.
2. Fixed Number of Lines: Pantoums typically have a fixed number of lines, often eight, twelve, or sixteen.
3. Rhyme Scheme: There is no specific rhyme scheme for a pantoum; however, a consistent rhyme scheme within each quatrain is common.
4. Narrative or Reflective Themes: Pantoums often explore narrative or reflective themes, and the repetition can be used to build on or alter the meaning of the lines.

Here's a simplified example of a pantoum:

A breeze whispers through the willow trees (1) Among the willow trees, the whispers grow (2) Leaves rustle softly in the evening breeze (3) The evening breeze, a secret it bestows (4) Among the willow trees, the whispers grow (2) Moonlight paints shadows on the river's flow (5) The evening breeze, a secret it bestows (4) As night unfolds its tales in soft tableau (6) Moonlight paints shadows on the river's flow (5) Stars illuminate the sky's vast show (7) As night unfolds its tales in soft tableau (6) A breeze whispers through the willow trees (1) 

In this example, lines 1 and 3 are repeated in lines 2 and 4 of the first quatrain, and the pattern continues throughout the poem.
😬😬😬😬😬😬😬😬😬😬😬😬😬
Silent flakes descend from winter's embrace (A) Covering the world in a blanket of grace (B) Softly they dance, a tranquil ballet (A) In their frozen descent, a gentle trace (B)
Covering the world in a blanket of grace (B) Each flake unique, a delicate design (C) In their frozen descent, a gentle trace (B) A wintry art, intricate and divine (C)
Each flake unique, a delicate design (C) Adorning trees in a shimmering attire (D) A wintry art, intricate and divine (C) Nature's masterpiece, a scene to inspire (D)
Adorning trees in a shimmering attire (D) Crisp underfoot, a carpet so white (E) Nature's masterpiece, a scene to inspire (D) A world transformed in the soft moonlight (E)
Crisp underfoot, a carpet so white (E) Softly they dance, a tranquil ballet (A) A world transformed in the soft moonlight (E) Silent flakes descend from winter's embrace (A)

In the digital age, where our lives are increasingly intertwined with online services, the importance of strong and secure passwords cannot be overstated. A password is often the first line of defense against unauthorized access to personal and financial information. However, creating a password that is both secure and easy to remember can be a challenging task. This is where the concept of a memorable password generator comes in, offering a balance between security and memorability.
A memorable password generator leverages a blend of randomness, security principles, and user-friendly patterns to create passwords. These generators typically use a combination of words, characters, and numbers that, while seemingly random, are structured in a way that makes them easier to remember. For instance, the generator might use alliteration, rhyme, or a combination of meaningful words with special characters to enhance memorability without compromising security.
The security of a password created by such a generator often exceeds that of commonly used passwords because it avoids easily guessable patterns and personal information that could be exploited by attackers. For example, passwords like “password123” or “123456” are extremely vulnerable to brute force attacks, where hackers use a trial and error method to guess passwords. In contrast, a password like “Blue#Curtain7Rain” generated by a memorable password generator is not only harder for machines to crack but also retains an element of memorability for the user.
One effective strategy in creating memorable passwords is to use a phrase or a combination of words that have a personal significance but are not directly related to one’s personal information. For example, the phrase could be based on a favorite book, an unforgettable travel experience, or a random, vivid memory. By modifying this phrase with numbers, special characters, and capitalization, the security of the password is enhanced while keeping it easy to recall.
Additionally, using a memorable password generator encourages users to adopt unique passwords for different sites, a practice known as password diversification. This practice is crucial because if one password is compromised, it does not jeopardize the security of other accounts.
While the challenge of creating strong and memorable passwords is significant, using a structured approach with a memorable password generator can provide an effective solution. It strikes a balance between complexity for security and simplicity for recall, helping protect our digital identities in an increasingly connected world.