Wordflair

Wordflair is a refrain form invented by -Lilac_Thoughts- of AP

Stanzas...minimum of two, maximum of five -(crown)

Six lines per stanza.

Line...1 ONE SINGLE WORD...to convey mood and theme

Lines... 1, 2, 3, 4, rhyming scheme: abab

Lines... 5 and 6 is a rhyming couplet: cc

Line six of the first stanza is repeated in the last line of following stanzas.

Note:  Although a specific Line length and meter are NOT requirement, they  are not prohibited.

Here is an example by the author:

~ Poetry Bluebird ~

...Friend...

he flew into my life from out of the blue

a gifted poet whose works I’d recommend

A handsome little bird breezed right through

with a song in his heart he soared so bright

carrying a radiance of sapphire skies upon wings in flight

...Pain...

he's suffered the loss of a chick from his nest

but true bluebird style he'd never complain

Perched among blossoms, he’d say he was blessed

darting above rainbows with poems to recite

carrying a radiance of sapphire skies upon wings in flight

...New...

downey feathers cascaded down to my page

he fluttered to cavity abode, in an old review

New friend, beautifully captured in gilded cage

caught in the imagery of a poets delight

carrying a radiance of sapphire skies upon wings in flight

...Adoration...

comes through the seeds of tender communication

woven lines of weed, from streamside imagination

Harbinger of happiness and purest infatuation

emerged at my lowest he inspired me to write

carrying a radiance of sapphire skies upon wings in flight

 Here is my attempt at a crown of Wordflair stanzas:

"Dee's Blooms"

 Curiosity

 I merely stopped as one of those who were

 impressed by Roxy's virtuosity

 I had no plans to buy and that's for sure.

 One bold and pretty image of a tree

 The limbs were reaching out it seems, for me.

 

 Enchanted

 I walked away, intrigued to view the other art;

 determined not to buy I found that I’d recanted

 "Dee's Blooms" had pulled me gently back by soul and heart.

 A captivated soul not wanting free,

 The limbs were reaching out it seems, for me.

 

 Compelled

 I fumbled to withdraw my cash

 my anxiousness could not be quelled.

 My purchase was not one bit rash.

 I knew I'd bought excellent quality

 The limbs were reaching out it seems, for me.

 

 Assent

 The blossoms were inert within the store.

 At home they often have a vivid scent.

 If ideas entertained by me were sore

 the flowers stank; if not, most sweet they'd be.

 The limbs were reaching out it seems, for me.

 

 Direction

 I've grown in life and love and wit

 "Dee's Bloom" has served as my connection.

 to making decisions that fit.

 So I thank Roxy for that tree.

 The limbs were reaching out it seems, for me.

 

 

   (c) Lawrencealot - August 11, 2013

Author Notes

 CREDIT for the ARTWORK:: http://www.roxsart.com/219010952?i=73858991

Visual Template

Quinzaine

• The Quinzaine is an internet form found at Shadow Poetry and Instant Poetry for Kids, named from the French qunize (fifteen) for the 15 syllables the poem contains.
  
  The Quinzaine is:
• a tristich, a 3 line poem.
• syllabic, 7-5-3 syllables per line.
• unrhymed.
• composed of: L1 a statement, L2 and L3 questions related to the statement.
  
  Keats by Judi Van Gorder
  
  Poet writes in present tense.
  When is verse in time,
  is now then?

Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=1188>

Thanks to Judi for the fine source at PMO.

My Attempt at Example

Insanity Defense      (Quinzaine)

Right and wrong are human judgments.

Can incapable man

do no wrong?

© Lawrencealot - December 5, 2013

Lushi

From WIKIPEDIA

Lushi or lüshi (traditional Chinese: 律詩; simplified Chinese: 律诗; pinyin: lǜshī; Wade–Giles : lü-shih) refers to a specific form of Classical Chinese poetry verse form. One of the most important poetry forms of Classical Chinese poetry, the lushi refers to an eight-line regulated verse form with lines made up of five, six, or seven characters; thus:

• Five-character eight-line regulated verse (wulu): a form of regulated verse with eight lines of five characters each.
• Six-character eight-line regulated verse is relatively rare.
• Seven-character eight-line regulated verse (qilu): a form of regulated verse with eight lines of seven characters each.

All lushi forms are rhymed on the even lines, with one rhyme being used throughout the poem. Also, and definitionally, the tonal profile of the poem is controlled (that is, "regulated").

Pasted from <http://en.wikipedia.org/wiki/Lushi_(poetry)>

And since, the Lushi, according to the above, must be "Regulated Verse" what the heck is that?

Regulated verse consisting of the three jintishi or "new style poetry" forms of lushi, jueju, and pailu while retaining the basic characteristics are distinguished from the gushi or "old style poetry" by the addition of a number of formal rules, most of which they share in common, but in some of which they differ. These rules include:

• Number of lines are limited to four for jueju, eight for lushi, and an unlimited, greater, even number for the pailu. In each case, the poem is arranged in paired lines in the form of couplets.
• Line lengths are all the same in terms of syllables or characters throughout any given poem. Generally, the line length is fixed at five or seven or characters per line; although, there are some poems which have a six character line-length. The line length is also used for the purpose of further classifying the main three forms of regulated verse into subtypes.
• Rhyme is mandatory. Rhyme, or rime, is based on a sometimes somewhat technical rhyme scheme. The rhyme of a poem can be difficult to determine, especially for older poems as pronounced in modern versions of Chinese; however, even as early as the Tang Dynasty, formal rhyme might be based upon authoritative references in a rime table or rime dictionary, rather than on actual vernacular speech. Generally level tones only rhyme with level tones, and non-level (or "deflected") tones only formally rhyme with other non-level tones. Also, the first line of the poem may also set the rhyme, more often in the seven-character form than the five-character.
• The pattern of tonality within the poem is regulated according to certain fixed patterns of alternating level and deflected tones. Although there is some question as to the status of tone in older forms of Chinese, in Middle Chinese (characteristic of the Chinese of the Sui Dynasty, Tang Dynasty, and Song Dynasty), a four tone system developed. For the purposes of regulated verse, the important distinction is between the level tone (similar to the modern Mandarin Chinese first tone) and the other three tones which are all classified in the category of deflected tones.
• Parallelism is a feature of regulated verse. The parallelism requirement means that the two parallel lines must match each word in each line with the word which is in the same position in the other line, the match can be in terms of grammatical function, comparison or contrast, phonology, among other considerations: the degree of parallelism can vary and the type of parallelism is crucial to the meaning of a well-written regulated verse poem. Phonological parallelism can include various considerations, including tonality. Grammatical function parallelism examples include matching colors, actions, numeric quantities and so on. In the eight-line lushi form, which is composed of four couplets, the middle two couplets have internal parallelism; that is, the third and fourth line are parallel with each other and the fifth and sixth lines are parallel with each other. The jueju is more flexible in terms of required parallelism, although it may be present. The pailu requires parallelism for all couplets except for the first and last pair.
• The caesura, or a pause between certain phrases within any given line is a standard feature of regulated verse, with the main rule being for a major caesura preceding the last three syllables within a line. Thus, in the six-line verse the major caesura divides the line into two three-character halves. Furthermore, in the seven-character line, there is generally a minor caesura between the first and second pairs of characters.

Pasted from <http://en.wikipedia.org/wiki/Regulated_verse>

Besides the tonality parallelism that English cannot duplicate, we can substitue Literary Parallelism.

Parallelism: Similarity of structure in a pair or series of related words, phrases, or clauses.

Parallelism takes place when two similar phrases are joined to make just one sentence. Or when you combine subjects, object or adjectives with conjunction.

Sigh…

I hope only someone who is [a] bi-lingual in in Chinese and English,  [b] more intelligent than I, and [c] a poet will be able to properly define how we should specify the correct writing of these poems in English, but here is my attempt to provide a common starting point.

Corrections and enhancements eagerly sought.

Restated Rules -  Lushi for Dummies

The poem is eight lines long.

There is not meter required.

It is word based: Each line must have the same number of words, either 5,6, or 7.

Even lines should exhibit mono-rhyme.

Caesura (a pause) should separate clauses.

The first couplet should set-up the poem.

The final couple should provide the conclusion.

The middle two couplets should develop the theme.

There should be some type of parallelism between alternate lines of the development quatrain.

Example Poem

Grandpa's Visit     (Lushi)

grandfather enters room; grandson smiles

toddles towards papa; wanting play.

boy, man watch each other

each watching the other's way

boy and grandpa mutually focused

each learning from each today.

grandson points down- to floor

that means, "Papa, here! stay!

© Lawrencealot - November 24, 2013

Visual Template

Note I chose the five character poem this time.

Trolaan

Trolaan, created by Valerie Peterson Brown, is a poem consisting of 4 quatrains.

Each quatrain begins with the same letter. The rhyme scheme is abab.

Starting with the second stanza you use the second letter of the first line of the first stanza to write the second each line beginning with that letter.

On the third stanza you will use the second letter on the first line of the second stanza and write the third each line beginning with that letter.

On the fourth stanza you will use the second letter on the first line of the third stanza and write the fourth each line beginning with that letter.

There is no mandatory line length or meter specified. (Added)

Example #1:

Distraught Blessings

Desire the sound or hope,
deluding minds in darkness.
Daunting though its scope,
deluged now with the access.

Elope into the morrow,
envelope me with song.
Enclose me now in sorrow
easing against the throng.

Longing for succulent prospect,
laying waste to eager night,
Lopsided in neglect,
listless with delight.

Only now will I protest,
owning nothing less.
Opening now I detest,
one more time to bless….

Copyright © 2008 Valerie Peterson Brown

 Pasted from <http://www.shadowpoetry.com/resources/wip/trolaan.html> 

My example poem

In Sincerity, One Word or Two     (Trolaan)

Don't you now know I love you so?

Did I not tell you many times?

Do leaves not rustle when wind blows?

Devotion I spell out in rhymes.

Oh Sweetheart, never doubt my love.

Other young ladies hit on me.

Occasionally I will sort of

Omit offending, don't you see?

How can you feel demeaned, my sweet?

Harangues are not required at all.

Heaven knows they are not as neat.

Have trust! I love you most of all.

Open relationship are fun.

Of course I only play around

on those times I am with someone.

Otherwise, it's with you I'm found.

© Lawrencealot - July 7, 2013

Visual Template

Sept

Type:	Structure, Metrical Requirement, Simple
Description:	A syllabic form of seven lines where the syllable count starts at one in line one, increasing by one each line up to line four, then decreasng at the same rate until line seven has one syllable again.
Origin:	English
Schematic:	x xx xxx xxxx xxx xx x
Rhythm/Stanza Length:	7
Line/Poem Length:	7

Pasted from <http://www.poetrybase.info/forms/002/246.shtml> 

Sample Poem

Tattoo Talk

When

tattoo

smiles at you

you're entitled

to believe

you are

loved.

(c) Lawrencealot

Séadna (“shay´na”)

A couple of great sources, Check them out from links on this page.

Séadna is:

• written in any number of quatrains.
• syllabic 8-7-8-7.
• written with L1 and L3, 2 syllable end words; L2 and L4, 1 syllable end words.
• rhymed. L2 and L4 end rhyme, L3 rhymes with the stressed word preceding the final word of L4. There are two aicill-rhymes in the second couplet.
• composed with alliteration in each line, the final word of L4 alliterating with the preceding stressed word. The final syllable of L1 alliterates with the first stressed word of L2.
  
  x x x x x x (x a)
  x a x x x x b
  x x x b x x (x c)
  x b x c x x b

Pasted from <http://www.poetrymagnumopus.com/index.php?showtopic=1168>

Séadna (shay'-na):

A quatrain stanza of alternating octosyllabic lines with disyllabic endings and heptasyllabic lines with monosyllabic endings. Lines two and four rhyme, line three rhymes with the stressed word preceding the final word of line four. There are two cross-rhymes in the second couplet. There is alliteration in each line, the final word of line four alliterating with the preceding stressed word. The final syllable of line one alliterates with the first stressed word of line two.

B x x x x x (x a)

x x x x x x b

x x x x c x (x c)

x b x c x x B

Caring for the watercolor

I find you looking at me there

Blush to white palor, dim valor,

Thus, where its blue core had found care.

Kathy Anderson

Pasted from <http://www.thepoetsgarret.com/celtic1.html#sea>

Example poem

Fight on Poet

Fight on against fear of failure;

cure your weary will and fright.

Pursue dreams; ignore cause killing

themes, write-- winning thrilling fight.

(c) Lawrencealot - July 4, 2012

Visual Aid

This is my 2nd attempt to write specs for this form.  It is without a doubt the most demanding poetry form I have encountered.  Since it is not possible to make a template that is much more than the equivalent of house plans on a napkin, handed to an architect...I have included the check list I referred to repeatedly while writing this one verse poem.

Besides being overly challenged for a long while; I chose a one verse poem so I could demo the Line 4 2nd word rhyme, and the first-last unity.

Enjoy...this form will help fight off dementia.

Rhopalic Verse

A poem wherein the nTH word of every line in each stanza has N-syllables.

word 1 = 1syllable

word 2 = 2 syllables

word 3 = 3 syllables

word 4 = 4 syllables

word 5 = 5 syllables,  etc

Example Poem

Expecting Her (Rhopalic Verse)

I’m thinking cautiously, realizing

that other’s promises evaporate

with nature's forcible intervention.

She’ll arrive, defeating complications.

(c) Lawrencealot - April 25, 2013

Visual Template

Reverse Word

This form was invented by  Walter E. Ferguson III.  aka, Thunder_Speech

The ONLY requirement of this form, is that you use reverse words where ever you might otherwise choose to use rhyme.  Instead of rhyming, the last words of the lines are spelled backwards (reversed) where rhymes would be.

Example Poem

Non-Olympic swimmer

I thought I'd swim a single loop

before I pulled the plug.

I jumped into our swimming pool

and promptly took a gulp.

I thought to myself "damn and rats"

and jumped out on my tarp.

I'll never be a swimming star,

while sitting on my prat.

© Lawrencealot - September 26, 2012

Visual Template of this poem

Paired Triquin

This is a form recently invented by Gary Kent Spain, aka venicebard on allpoetry.

To Quote Gary:

 Some paired what, you say?  This is a form I invented recently, not just to invent a form but because I liked the sound of it.

‘Triquin’ is a reversal of ‘quatrain’ (I dropped the a because both ‘triquain’ and ‘troisquain’ sounded funny to me) and is defined as a three-line stanza consisting of:

L1 - trochee-iamb-iamb-iamb

(DUM de de DUM de DUM de DUM);

L2 - iamb-iamb-iamb-iamb

(de DUM de DUM de DUM de DUM)

L3 - (indented) iamb-iamb 

(de DUM de DUM);

and it must contain alliteration between two consecutive stressed words in one of its lines,

and the final consonant sound of L2 must match that of L3 (last two consonants,

if the last syllables of both end in two or more consonant sounds).

‘Paired Triquins’ specifically refers to two of these forming one six-line stanza,

with another variant allowed (only if one wishes) for the new L5, namely:

pyrrhic-spondee-iamb-iamb   (de de DUM DUM de DUM de DUM)

...and the additional requirement of having the 1st and 3rd DUMs of L2 rime the third DUM of L1,

and the 1st and 3rd DUMs of L5 rime the 2nd and 4th, respectively, of L4.

Syllabic schematic:

XxxXxAxX

xAxXxAxT

     xXxT [‘T’= terminal consonant]

XxxBxXxC

xBxXxCxT [or xxBXxCxT]

       xXxT

Example Poem

Mentor   (Paired Triquin Pair)

Scoundrels will scheme and squirm to make

you learn what you have spurned in past

    these tasks attest.

Welsh as this seems, it to's been true

in dreams,  these I eschew sometimes,

     but not new forms.

Granted not gracing our fair bard

this hour would only sour myself.

    There'd be no riff.

Colleges fail,  but mentors don't;

they're hale and really won't give up.

    They just can't stop.

© Lawrencealot - June 20, 2013

Visual Template

Cyrch Gymeriad

Earliest strata of British Celtic poetry #1: cyrch gymeriad (wreathing).

Information provided by Gary Kent Spain.

In Welsh, cymeriad (‘memory’) refers to repetition of the same word or syllable, often at the start of successive lines.  Cyrch gymeriad means what we call ‘wreathing’, that is, to repeat the word or syllable ending one line (or line segment) at or near the start of the next (see below).  It can involve meaning as well, that is, synonyms.

Your prompt is to assemble short (roughly two-stress) line segments of 3-6 syllables (mostly 3-4 if possible) into at least two longer lines (printed as stanzas) that rime on the last syllable (stressed or not), and to link each line segment with its neighbors by one (or more) of the following techniques:

1.  Cymeriad (beginning with the same word or syllable, or a homophone or synonym)

2.  Cyrch gymeriad (word or syllable repetition linking end of one with start of next)

3.  Alliteration, or consonance (repetition of two or more sounds of a word, can both be consonant sounds or one can be a vowel sound)

4.  Rimed syllable, which even should it occur at the ends of two successive line segments still constitutes ‘internal’ rime, since more than one make up the complete ‘line’ (i.e. stanza)

...again, the cymeriad may involve homophones (different words that sound the same) or synonyms, in addition to actual repetition.

Schematic, where each letter represents a syllable, x = unlinked, lower case (abc etc.) rimed, upper case (ABC etc.) repeated (cymeriad)—spaces separate words, bold and italics (alternating) indicate alliteration, and underlinedindicates a proper name.

x  A-B / B  A-c

xxx  C / C  DD

DD  EE / EE  xf

G-GG  f / G-GG  H

H  xx / f   x  xH

x  x-xx / x-x-x-h

x  xxi / x x i / x-x  h

Example Poem

Abalone abound

bound below to rocks;

rocked not by salty waves

but safety waived by men.

Men- selfish divers

"shell-fish dinners" served as

dining divers' can.

Bountiful before man

manufactured- gear

that fractured, broke the ban

banning air- breathing man.

Man equipped to submerge

then eclipsed by base urge-

Urgent need for meals

of otters, and seals.

Tasting abalone,

Shellfish about alone

in taste, attests to why-

Why we've failed fishing ban.

© Lawrencealot - July 13, 2013

I have provided a Visual Template below that shows my attempt at various linkages.

Unfortunately, I could not make this schematic fit the example poem provide, and pretty much believe it is UNREALISITIC to assume a template can be constructed since almost everything is optional, from line-length to type of linkage. 

Bibliographic Profile Acrostic

This a poetry form invented by AP's own Andre_ben-YEHU

It is named — BIBLIOBIOGRAPHIC PROFILE ACROSTIC. It may be rhymed or blank verse on any poetic frame and verse's length; and “Poetic License” is allowed in the meter. 

The composition in this form must paint a profile on the Tributee, and use title (s) of the tributee’s literary production within the stanzas or stanza.

The purpose of this form is to honor the Tributee-author, the poetic Art, and to promote the tributee’s works. 

Here is an example poem by Lawrencealot

Example Poem

Eusebius     ( BIBLIOBIOGRAPHIC PROFILE ACROSTIC)

MIRROR, MIRROR, a horror story moved me,  lacking gore.

Intrigued by Michael's mild approach I ventured to read more.

Clearly FLOWER FROM THE STARS comes ready to delight fans

Having thrived on fantasy taking place in many lands

And thrilling readers of his poems. There I've read him most.

Even active folks may miss him He'll not compete nor host.

Look for GUILE, CAMILLE, or POUT, different forms everyone.

**

Forms used by Swinburne left unnamed, reemergence he's begun.

AMERA IS penned by this swain is exemplar Trijan refrain.

Now, VOICE OF ANGELS, Swinburne's work and CAMILLE is again.

THE CHATEAU and THE CENTAURESS are sonnets with distinction.

If we can learn from these- quality won't face extinction.

Now that I've said my piece and presented this micro view.

Arise and go check Eusebius out- all six of you.

© July 22, 2013 - Lawrencealot

NOTE 1:

The Acrostic spells Michael Fantina

Note 2:

All of these works are posted on Allpoetry

Stories:

MIRROR, MIRROR

FLOWER FROM THE STARS

Poems:

GUILE

CAMILLE

POUT

AMERA IS

VOICE OF ANGELS

CAMILLE

THE CHATEAU

THE CENTAURESS

Acrostic

The following are "lifted" from the Allpoetry Acrostic Course, free to all.

It is known that people do not always realize how impressive you can make an acrostic. And sometimes they are not thought of as poetry, because they do not rhyme....

But, here is breaking news for you! Poetry does not have to rhyme. And the glorious thing about acrostics, is that they have a hidden message down the side as well!

 'Standard Acrostic'.

To start. There are two main stages...

First, remember your brainstorming?

Did you pick a word or sentence? Put it down the side.

R

E

M

I

S

S

I

O

N

Now that you have your word, or phrase, think of the things that would fit. What does this word make you feel? How could you describe it? Use the brainstorm you had in assignment one. Your finished product should look a little like this...

Really happy now!

Excited too...

My Mum

Is nearly better

So thank you for your prayers!

So thank you for being generous

I love you all for

Opening lots of happiness to my Mum

Now she's in remission.

Pasted from <http://allpoetry.com/group/show/Course%3A_Art_Of_Acrostics?assignment=1233>

Your next form has two names,

 Shadow or Mirror acrostic.

 I prefer shadow, so I'll probably use that, but it does get called both.

This acrostic is similar to the standard form, but a bit harder.

The idea here is that you have the same message at the left side of the poem and at the right side.

Start work with the same idea.

Choose your word or sentence, for example:

F F

E E

E E

T T

And fill the middle. This is to add an extra 'hidden message' in the poem, a clever twist that sometimes people miss. Therefore, these poems work better if they actually make sense.

Feel the love on the shelf,

Expel your anger into torture.

Expect to be fueled by coffee,

To be dancing on that caffeine shot!

Pasted from <http://allpoetry.com/group/show/Course%3A_Art_Of_Acrostics?assignment=1235>

Acrosteleostic

The third form...

     Acrosteleostic.

This does not appear to be official in any way (or at least I have found no outside information on it). It seems it was created by a genius here on AP. Nonetheless, it's an interesting form, and therefore worth teaching!

To start, you need a word. Then you need another with around the same number of letters for the other side.

Here, I shall write it, and see if you can view the message.

(A clue: I am not a 'normal' English woman. Why?)

Countless cups I drink with appreciatioN

Of liquid with it's caffienated echO,

Feeling loved by it's mental thoughT

Fell in love, the day it was boughT.

Everyday life spent with my friend coffeE...

Everyone knows I prefer it to teA!

Pasted from <http://allpoetry.com/group/show/Course%3A_Art_Of_Acrostics?assignment=1237>

Mesostich.

This is not quite as hard as the previous form. It requires a poem of almost any form, but the letters in the middle spell out the message.

For example, if every line had 13 letters, the 7th letter would form part of the message.

It would be wise to choose your message first, and then build your poem around it.

I have used the name TOYA.

Sitting here surrounded by dusT on all sides. I think all talking

is a must. I am alone in this old rOom. So, I can talk from birth to doom.

You may think I am crazy, but what Yelling will achieve? Everybody

knows you wear your heart on an Apron string. Tell me your belief?

Pasted from <http://allpoetry.com/group/show/Course%3A_Art_Of_Acrostics?assignment=1239>

Telestich.

Easier still. This form requires only the end letters to spell a message.

Again, it is wise to choose your word or sentence, and work around it.

If you get stuck, a tool I've learned to use is Google or a similar search engine. Type into the search bar "words ending with the letter '_'" and it will find pages for you. Same with the mesostich, type in the search bar "words with 't' as the third letter," or equivalent. No problems there...!

The hidden message here is mildly dire: read the last letter of every line to determine what the poem is about...

It is not to be confused (when you go out of your mind,

With being alive. People will care when you're

Breathing whispers of Omega,

And meeting Alpha...a melancholy must.

Just waiting for the day you again grace earth.

Pasted from <http://allpoetry.com/group/show/Course%3A_Art_Of_Acrostics?assignment=1239>

Cross Acrostic. (I believe they may have run out of names!)

This form is a little trickier, but easier to understand, I think. There was a very famous one written by Edgar Allen Poe. Now even though most of you may never have studied his works (I'll be honest and say that I have not...), his is a name that most of you should recognize as a famous poet. His poem was entitled 'A Valentine,' and was written to include the name of a sergeant. 

The idea behind this is that the message is hidden across the acrostic. The first line has the first letter, the second line with the second letter, and so on.

Feed me with love and energy,

Treat me with respect.

You can use me in so many ways...

But I ask only one thing.

Start your diet another day!

My word? Fruit.

Feed

tReat

yoU

but I

starT

Clever, huh? 

Triple Threat

You have learned several forms so far. You have practiced the art of hidden messages in several places within a poem: at the end, in the middle, spread out....

The first form here is called a Word Acrostic. Essentially, you must think of a sentence, small or long, and then make it into a poem. To further explain what I mean, I'll demonstrate. (Pay attention, you will be writing one!)

'I am teaching you' will be my sentence.

I

Am

Teaching

You

...will go down the side, like that. Then you will fill the rest out, and, hopefully, it will still make sense. These work better if you like to be clever, and make the message completely the opposite of the poem.

I only want to know what you have to show me.

Am I presuming too much?

Teaching me the basics of your chosen trade...

You tell me everything I need to know.

This is the word acrostic.

Now, we get clever.

This is where we amalgamate (mix) three different things together, and it is one of my favourite ways to write. I will be honest and say I've not seen anyone else write one...so I am sharing my knowledge with you...we can spread the word!

I have coined it as a Triple Threat.

(Note to everyone, if you have seen it elsewhere, let me know, and I'll happily share the credit!)

This little beauty mixes the wholeness of a poem, with two hidden messages.

To make this, you need to do an acrostic, then a word acrostic, then the rest of the poem.

Sound complicated? I'll show you how... Maybe you'll enjoy them as much as I?!

Here's one I wrote earlier.

Sentence- I will win yet...

I

W

I

L

L

W

I

N

Y

E

T

Now you have your basis, you need to work out a sentence that runs alongside it...

I

Wish

I

Lived

Lots,

When

I

Needed

You.

End

This!

  Remember

  Failure.

There is a sentence or two. Sometimes, if you can include the punctuation, it helps people see the hidden message; however, this is not always possible.

On top of this, if the poem feels 'unfinished' with the sentence as it is, you might need to add a couple lines. I have done this, and indented them so they are seen as part of the poem but not part of the standard acrostic. However, they make sense as part of the word acrostic.

And the poem in full...

I know one thing only.

Wish myself to have been more.

I dream of better endings.

Lived for myself, for others-

Lots of love shared...

When I go,

I will regret one thing, I

Needed more. Just more

You. You were everything I had.

End draws near- I look back.

This Is It.

      Remember one thing...

      Failure is an option.

You may have noticed that the poem and the message are opposite? Again, a nice touch you might see often in acrostics.