Thursday, July 21, 2016

Bustin' Makes Me Feel Good

Like everyone else born in the 80s, I grew up with the Ghostbusters. Egon was my favorite. I looked up to him, but I never really felt like I could be him.

This was a thing that would happen throughout my life.

Sure, there were some cool female characters, but too often they were the only female character in a cast of men and, therefore, burdened with the task of being a paragon of all womankind. That makes it pretty hard to show a complex character. They're all strong and competent and, in their own rights, awesome. But there are very few acceptable templates for female characters.

So, Ghostbusters. I wish I'd had a movie like this when I was a kid. These women are bad ass. They talk about science and ghosts. They make weapons and crazy steampunk devices. They fight. And they do it without wearing skin tight outfits and ankle-breaking stilettos. They're dressed and treated more like Neo than Trinity.
They make gross jokes and don't cry about boys. Patty is an unapologetic history nerd. She's friendly and straightforward. Holtzmann is creepy and unabashedly excited about technology and dead things. She's a confident flirt. Erin is awkward and even though they tease her in the beginning, they all learn to accept her quirks. And Abby is driven and no one ever calls her bossy or bitchy.

There's no creepy camera, panning up from the feet to show off their assets and curves. They are allowed to dress like actual people, in ways that compliment their characters.

I nearly cried at multiple points in this movie. I didn't even realize how much I needed something like this to exist. These women made me realize how narrowly I write female characters. How weirdly fucked I am in what I think it is to be a woman. I am so angry that I've gone this long without having characters like this.

So, if you're still with me, I really liked this movie. I think, even if the characters didn't mean so much to me, I'd still really like this movie. I thought it was honestly funny. I saw it in regular 2D and immediately regretted it because the effects were so cool. So I had to go see it again in 3D and I do not regret that decision.

Yes, it had issues. I wish they had committed, at least once, to playing the theme in full instead of giving us about seven hundred fifty different versions of the opening. 
This might have been a good time for it. Yes, I realize there was an instrumental version. We all know that's not the real thing.
I thought they'd do something cooler with all of the new weapons after Possessed!Abby went after the normal gear with Holtzmann's pipe. I wish some of the storyline had been a bit more fleshed out. The pacing was a little uneven.

But even though I've always loved Ghostbusters, I've never felt so much like I wanted to be a part of the fandom until now. I want t-shirts. I want the toys. I want to share this movie with my daughters so they can have these characters sooner than I did. 

Saturday, July 2, 2016

What Big Teeth - The Neon Demon Review

The Neon Demon is not exactly what I expected. Maybe I should have, but I didn't. I really only saw the trailer and thought all that glitter and blood looked like something made specifically for me. I didn't really do any research before watching it.

Spoilers ahead.

There came a point while watching this movie that I felt bad for dragging Xian to the theater with me. I'd thought about going by myself and after a while, I really started to wish I had. I actually leaned over to him and whispered and apology to him.

It's not that the movie was bad. It was just... really fucking weird.

So, it's about a girl who wants to be a model and moves to the big city and gets eaten alive. Like, that's it. But the movie takes a long time to get there. Or, anywhere, really. Like, this was maybe a really great short film, but it seemed pretty sparse for feature length.

There's a lot of symbolism and metaphor. Which is cool. I mean, I dig that kind of stuff. But there's so much that I got pretty lost. Like, is this a supernatural movie? Magical realism? Surrealism? Giallo? I don't fucking know. Probably the last two.

The characters are all pretty thin and blank with very little insight given about their motivations. Actually, maybe that's not true. Near the beginning, Ruby (Jenna Malone) asks Jesse (Elle Fanning) if she's "food or sex". Then, when Jesse turns down Ruby's sexual advances, Ruby eats her. So, I guess there's some motivation there. But it doesn't really feel like we get very deep. And there's no real character to follow. I spent most of the beginning of the movie trying to figure out who was the demon (everyone, is the answer). But there's not ever anyone to side with. Even Dean (Karl Glusman), the sweet boyfriend guy, is a little dodgy. He knows that Jesse is barely sixteen, but he's still ready to get romantic with her.

We get definite shades of Elizabeth Bathory and Red Riding Hood. The character named Ruby is, at several points in the movie, shown near taxidermy wolves and cougars. Ruby, Gigi (Bella Heathcote) and Sarah (Abbey Lee) not only eat Jesse, but they also bathe in her blood. Those metaphors, I get.

But then there's so much other stuff going on. Like, Ruby is a make-up artist for the living and the dead. I feel like that's important, but I'm not really sure what it means. I wonder if Sarah actually did try to drink Jesse's blood in that public restroom after the casting call or if that was some sort of... I dunno. Visual metaphor or something?

Surrealism is kind of lost on me, I think.


The movie is stunningly beautiful. I'm glad I saw it in the theater. The cinematography is brilliant. There are a lot of chances for the camera to sexualize the girls, to do that gratuitous body pan or focus on the boobs or butt, but it never comes to that. I really appreciate that. It's also worth noting that, while the male characters are clearly in control, great pains are taken to make them not rapey, except for Hank (Keanu Reeves). All the damage done to the girls is done by the girls.

Which is a thing that happens a lot. The idea that women are constantly in competition with each other. I mean, okay, I get it. This is set in the fashion world. And it's about people being eaten. It's about the value of beauty. People move mountains to get to something valuable. We make earthquakes to get to oil because it's valuable. So, Jesse gets destroyed by people mining her beauty. I get it.

My SO and I actually kind of got into about it this because I felt like the sparse narrative stayed a bit too neutral about this. As far as I can tell, two of the three girls who ate Jesse were just fine. But I could be wrong. Sarah didn't do so well. But it seems like Gigi probably goes on with the photoshoot like a rock star. And Ruby... fuck, I dunno. I mean, she was bleeding like a birth gone wrong, but she looked orgasmic. And I don't really feel like we need more movies about how shitty women are to each other.

You could say that the neutrality started an interesting conversation. Or you could say it started a fight. Both are equally accurate. I just feel like, especially in the horror community, it would be so easy to nod and say, "Yeah, women are crazy".

Let me be clear. I think people should make the art they want to make. It is no single person's job to fix the problems of how tropes are dealt with in media. But as a person who has to deal with this shit constantly, I'm sorta done with it. I'm not really up for having academic conversations about this because I've been living with it for thirty-four years and I'm just really tired, man. I wish there had been a way to make this allegory work without sacrificing women at the altar of catty bitches.

I'm not going to give this a numerical value. I'm not upset that I saw it, but I would also really hesitate to tell anyone to go see it. I'm pretty certain none of my friends would be into it. But, you know, if you're into Lynchian films, maybe you'll see all the stuff I missed.

Wednesday, June 22, 2016

X Whoa Man

I like the X-Men. I have for as long as I've known they existed, which was, admittedly, long after they began existing. It was one of my favorite comics when I was really hard into comics and many of the characters and storylines stick with me.

I absolutely saw the movie on opening day. And the same X-2. And X-3. And... that was it.

Because, here's my secret, I don't like the Dark Phoenix storyline. I never have. I don't even like Jean Grey. Or Cyclops. Both of those characters always sort of rubbed me the wrong way. They were so perfect and tragic and completely boring. And X-3 was objectively not awesome. Like, not a single one of my friends came out of that movie happy.

So, I didn't go see First Class. It seemed like a lame attempt to get away from the travesty of X-3. Double that for Days of Future Past.

But then someone pointed out that Quicksilver was in Days. Played by Evan Peters. I love Evan Peters. And Quicksilver. So, for my birthday this year, I sat down and watched (most of) both those movies.

I didn't love them. Mystique, who is a strong, complex character in the comics, was reduced to one, single, whiny character trait. Emma Frost was told to "go fetch some ice" and she fucking did it. Angel (not to be confused with Angel) was asked if she wanted a job where she could keep her clothes on and then, as the stripper, she was the fist to go turncoat. The black guy who's one power was adapting to survive frakking died. It was just... really disappointing in so many ways.

So, I was one thousand percent not interested in seeing Apocalypse. Except... Quicksilver. I did love him. And the rumor was he'd be in it more. Then I saw a trailer. Nightcrawler was in it too.

Dammit.

So, I saw the movie.

Guys.

Guys...

It's really good.

I mean, okay, maybe that's a exaggeration. It's not perfect. There are so many characters being introduced that several of them get no development. Like, at all.

I think, of all of the superhero franchises currently doing movie things, X-Men is the most... about the characters. Like, there's a nearly infinite roster for them to pull from. I get really excited when I hear that one of my favorites is getting pulled into the spotlight. I mean, there are the usuals, the ones who's names are synonymous with the title. But the side characters are always a treat. So, let's talk about them some, yeah?

Spoilers ahead, probably.

Angel gets at least two makeovers, but we really don't get to know him beyond his love for breaking bottles and Metallica. Made me sad because I've always loved him. But, honestly, he doesn't really make much sense in this movie. I mean, Apocalypse is supposed to pick the best mutants to be his horsemen, right? Storm makes sense. Psylocke... that's fine, I guess. Magneto, fuck yeah, get that guy. But Angel? I mean, even in the comics his main powers are having wings, being pretty, and wealth. In this movie, he seems to be lacking the latter. Though he does make up for it with fighting skills, we're told. And, I mean, I guess that's true. But the pacifist beats him both times they fight.

Psylocke... well, she's hot and makes energy weapons that cut things. Unless the weapon is a whip and around the neck of a main character, then it doesn't cut. It just pulls. And that's the end of her. I don't know even know if Apocalypse's magical make-over powers worked on her.

Storm was pretty great. I was surprised that she started out as a bad guy, but it made sense. And her turn at the end was perfect. I've always loved Storm's design. I really liked that they went with the Ultimate version (which is based on a version from the 80s?). Alexandra Shipp really pulled of the character, IMO.

Magneto is, I think, better in the movies than he was in any of the comics I read. I'm not saying he was never that good in comics, just my small little segment of the comics. I love the tragedy in him. Michael Fassbender plays him so well. My main issue is his turn in the beginning. This is totally personal, but I am 1000% done with watching terrible things happen to dark-haired, blue-eyed little girls. Also, Apocalypse didn't really change Magneto's look. Just gave him a new version of the armor he's had before. Everyone else got new hair-dos and stuff. So, I dunno what's up with that.

Jean Grey, as I mentioned before, has never been my favorite. For a long time it seemed like her only real powers were being pretty and dying. But Sophie Turner is so good. She brings a lot Sansa Stark to the role and makes me actually believe that she's afraid of her powers. But she doesn't come across as totally fearful. Throughout it all she has an underlying strength. Even if some of her lines are really terribly written. I don't know who was in charge of her dialogue. It wasn't great.

Cyclops is another long time unliked character of mine. It always seemed, in all the comics, cartoons, and movies, that the writers wanted me to believe there was more substance than they showed. Or that he was cool enough to not need it. Or something. I dunno. He was just the typical flat, vanilla leader character. But this time, I like him. I'm not sure exactly what changed, maybe it was him being actually unsure and following Jean's lead. He backed her up and was supportive and that was really great.

Jubilee what do we have to do to get her to actually be in a movie as more than a cameo? Because I'll do it.

Nightcralwer is perfect and adorable. I love everything about him. Kodi Smit-McPhee is so incredible. I love the moment when he's in the ring with Angel and Angel tells him they have to fight or die. Nightcrawler goes into entertainer mode, getting all showy with his attacks until he realizes he's actually hurt Angel. It's perfect. And when he fights Angel the second time and, rather than hurt him, he ports him into a trap. They just did a really great job with his characterization. Side note, for some reason, Google thinks Kodi also played Jubilee. But, for real, he voiced Norman in ParaNorman, so I think I love this kid.

Quicksilver is so good. "It seems, no matter how fast I am, I'm always late." And his whole spiel about being a loser in the jet. This is a huge departure from any version I've seen before, but I love it so much.

Xavier is my favorite version of him. Like Quicksilver, it's so different from what I'm used to, but I love it. James McAvoy is such a sarcastic, awkward, borderline asshole and it's fantastic.

Mystique, oh Mystique. She was so disappointing in the other movies, but in this one, she shines. She's brave and heroic. And also awkward and clearly undersocialized. But she was such an active participant in every part of the movie. She drove it.

Anyway.

I really like this movie. I'm not sure I'd really recommend it, especially not to someone who isn't really into superheroes. But I've seen it twice now. I might see it again. I'm gonna buy the blu-ray. I think it's probably the best one since X-2.

But that could also just be Nightcrawler.

Thursday, May 19, 2016

Fight Like a Girl

My daughter has thunder thighs. She has a double chin and a pot-belly. Her cheeks jiggle when she laughs. Her shins are covered in bruises and her knees are a cross-hatch of scratches and scrapes.
She doesn’t know that, someday, she will be told all of those things are bad.

Right now—today— she is two and beautiful. She smiles with complete abandon. When she laughs, she does it with her entire body.

And she laughs a lot. She thinks burps are funny and farts are hilarious. But it won’t be long before someone—someone well-meaning and with her best interests at heart—informs her that good little girls are sugar and spice and everything nice. Burps and farts belong to the realm of snips and snails.

Other things in that boy realm include primary colors. Green, blue, black, and grey. Jewel tones, earth tones, stark contrasts. Everything but pink— because that is a girl’s color— lives there. In that realm, there will be shirts with robots and dinosaurs. Astronauts, planets, outer space. Math jokes. Science puns. Superheroes. Monsters.

In the Pepto Bismol colored parts of the world, she’ll find pastels. There will be princesses and t-shirts that extol the virtues of shopping. There will be ribbons and lace. The sleeves will all be capped, ruched, and ruffled. Buttons will be rhinestones because diamonds are a girl’s best friend. The graphics will be lipstick tubes, compacts, jewelry. Whether or not she likes these things, they will be her main choices.

For no apparent reason, all of the superhero logos will have turned pink.

Yes, even Batman.

A fifth Teenage Mutant Ninja Turtle will have appeared. One with a pink bandanna and no weapons or initial on her belt. She’ll have a bow on her head. In an office building, there is a person patting themselves on the back for being so very inclusive over that one.

Straight-faced and with no animosity, a good person will tell my beautiful daughter that she could be so pretty if she’d only… if she’d just grow out her hair. If she’d just smile. Wear a dress. Be less aggressive. Be less bossy. Be quieter. Sit still. Just be less.

Before commenting on her intelligence, people will tell her how pretty she is. Because it will be more important for her to be pretty than smart. Or athletic. Or creative. Or loyal. Or generous. Or strong. Other adjectives will be bonuses, but ultimately unnecessary.

They will innocuously ask her if she really needs another piece of birthday cake.

They will tell her not to wear makeup because it is vain. It attracts the wrong kind of attention. She’s beautiful without it. It is deceitful. They will tell her she should wear makeup. To cover up those flaws. To find a man. To show that she cares about her appearance. They will tell her not to wear so much. To not wear that color. Only a certain kind of girl wears blue eye-shadow.

They’ll tell her that she doesn’t want people to think she’s that kind of girl, right? It won’t really be a question.

A boy, sitting next to her in class, cross-legged and watching a movie near the end of the school year, in the summer heat, will look down and notice the peach fuzz on her legs. He will say it’s gross that she hasn’t shaved her legs. Even though he hasn’t shaved his legs. Even though he probably never will. He’ll shave his face someday, or maybe he won’t. And either option will be okay with most people.

My beautiful daughter will someday menstruate. She will learn to be embarrassed about buying tampons. She will compulsively check between her legs every chance she gets because of that time she bled through her pad and everyone saw. A person, doing what they think is best, will try to calm her down by suggesting that maybe she’s only upset because Aunt Flo is visiting. That whatever is bothering her, it really isn’t so bad. It's just hormones, not real emotions.

She will learn to speak in code. Doublespeak to keep from making people uncomfortable, including herself, about her body. She will be a magician—watch her left hand while she palms the sanitary napkin in her right.

Her breasts will be small and, her classmates and friends will make fun of her, and she will feel insecure. Or her breasts will be big, and people will stare, and she will feel insecure.

She will have girlfriends and boyfriends, and some of them will be romantic and some of them won’t. Some will wish they were. A boy, who doesn’t know any better, who has been taught his whole life that a girl who says no is just playing hard to get, will get angry that she told him no. Someone will ask her what she did to lead him on. They’ll wonder what she was wearing. What color was her eye-shadow? What was she doing alone with him?

She will discover that girls can’t be funny because good little girls don’t make fart jokes. They don’t tie their skirts up around their waists so they can climb trees and dirt piles. They don’t wear revealing clothing. They don’t kiss anyone they don’t intend to marry and they certainly don’t go any further.

Those are rights held for boys.

Boys, who can laugh about burps and bodily functions. Who don’t have to worry about things like who can see up their skirts or if their belly is showing and, if so, is it flat enough. Boys, who can post pictures of themselves shirtless on social media. Who are encouraged to have sex. Lots of it. No matter the cost to themselves or others.

She’ll start to understand what it means when characters in movies say, “You were beaten by a girl.” She’ll get the jokes about women drivers. The silly, capricious emotions of girls. You throw like a girl. You hit like a girl. She’ll learn that what they’re actually saying is that she will never be as good as a boy. She’ll understand because, no matter how pretty or polite she is, she also has other adjectives. She is smart.

Someday, my brave/intelligent/curious/artistic/happy daughter will wish there was more space between her thighs. She’ll want a Photoshop figure and magazine-perfect skin. She’ll forget how to laugh with abandon.

She will learn that, even though she has to do it every day, fighting like a girl isn’t a compliment.

Wednesday, March 30, 2016

Announcing Psychopomp and Circumstance


"A blend of gritty realism and dark supernatural, Psychopomp and Circumstance is Heathers meets It Follows, with a sprinkling of The Twilight Zone, all told with black humor, nihilist teen angst, and a buried need to be loved and accepted."—Richard Thomas, author of Tribulations
It starts on Facebook—an update that Nell doesn’t remember making. It’s bad enough that she’s dying and none of her friends know. Now, she’s pretty sure she’s going crazy. She sees the Sewercide Man everywhere she goes.
The bright, safe little town of Bandon is descending into darkness, dragging the inhabitants along for the ride. Death follows madness for those bound to the Sewercide Man’s will.
But the Sewercide Man is more than just a ghost or a monster. He is death without justice. He is destruction without remorse. He doesn’t have a plan.
He just wants to bring everyone home.
It's finally happening. Psychopomp and Circumstance will be released May 1st through A Murder of Storytellers. It'll be available in all of the usual places. At this exact moment, you can pre-order it through Smashwords.

The completely amazing Daniele Serra did the cover. I cannot get over how incredible it is.

I don't even know what to say about this. I'm just so excited that it's finally happening.

Tuesday, March 22, 2016

Improving the Quality of Our Suffering: Poetry

I originally presented this as a sort of crash course for my writing group over Hangouts. So, a lot of the examples were chosen because I knew members of Nevermore would dig them.

Robert Frost said a poem "begins in delight and ends in wisdom". Now, don't misunderstand and think that means poetry should be, like, delightfully happy. That is definitely not what I'm saying.

But I am saying it should satisfying. That's the delight. I mean, let's look at Poe. He is, IMO, the master of poetic devices. He's all about the meter and the rhyme and... everything, really. Look at this excerpt from Annabel Lee. Read it. Read it out loud. Feel how these words feel as they fall off your tongue.

Oh, and spoiler alert, I guess, for a century-and-half old poem.
For the moon never beams, without bringing me dreams
Of the beautiful Annabel Lee;
And the stars never rise, but I feel the bright eyes
Of the beautiful Annabel Lee;
And so, all the night-tide, I lie down by the side
Of my darling—my darling—my life and my bride,
In her sepulchre there by the sea—
In her tomb by the sounding sea.
 It just feels good to read, right?

Pretty frequently, I see people treating poetry like it's some kind of magic. It's not. I promise. No matter how arcane or wonderful something is, you can learn how to do it. Even poetry. It's all about the bass. I mean literary devices.

Let's start with my favorite.

Alliteration and Assonance


Both of these things deal with the phonetic sounds of words. Alliteration is, basically, when the consonants in a word sound the same, assonance is the vowels.

Let's take a look at Mean by Taylor Swift.
You, with your switching sides
and your wildfire lies
and your humiliation
Alliteration! We've got it with the Ss in switching, sides, and lies. We also have the L in wildfire, lies, and humiliation. And for assonance, we've got the long I in sides, wildfire, and lies.

Let's do some more. Pretend like we're in high school and see if you can guess them before I tell you. Here's a bit from Contagious by Night Riots.
Don't be, don't be so cold
Bones rust, decay, and mold
Head first, it is what it is
Youth lost, kicks us to live
We've clearly got some rhymes here. That's technically a different thing, but we're going to ignore it for now.

We have an alliterative D in don't, decay, mold, and head. There's also the T in don't, rust, first, it, and lost, but it's not as noticeable.

The assonance is pretty strong with the long O of don't, cold, bones, and mold. There's also the short I in kicks, it, is, and live.

Make sense? Sorry, I can't hear you if the answer was no. So, I'm going to assume it was yes and move on. Feel free to ask questions, though. I'll answer them as best I can.

Rhyme


There are two main kinds of rhyme-- true and slant.

Looking at the Night Riots example, "cold" and "mold" are true rhymes while "is" and "lives" is slant. So, true means it's the exact same ending sound and slant is... close.

Check out Partition by Beyonce. She's all about the slant rhyme in there.
Every girl in here got to look me up and down
All on Instagram, cake by the pound
Circulate the image every time I come around
"Pound" and "around" are true while "down" is slant.

Everyone still with me?

Imagery


Okay. This one is pretty big and easy to miss. My best friend likes to harp on this one a lot. The imagery is how you're going to convey the theme and mood of your poem to the reader. Not all poems, and certainly not all songs have much concrete imagery, but if you can work it in, you'll make the piece at least 20% cooler.

Take another gander at Contagious up there. It's all entropy and death, culminating in the line, "Youth lost, kicks us to live". The next few lines are, "I am contagious, I am breaking down. Flesh of the fathers, I am no one's fault." Literally speaking, I have no idea what they're talking about. But the picture they're painting with those descriptions evokes depression and desperation.

If they'd just said, "We're sad and it's not your fault", the song might still be musically cool, but lyrically pretty basic and boring. It's all about making the reader see something that will then make them feel something. 

Blue October pretty regularly kills it in the imagery department, so check out this verse from Come in Closer:
Come dancing with devils
need not know their names
and we'll waltz like an army
for the fear of our pain
Our souls become useless
as the day they were born
in the rusted arm rocking chair
away from your storm
Again, if you look at the words literally, it's basically nonsense. Like, okay, these people are going to waltz with some random devils because if they don't someone will hurt them? And it renders their souls useless? But they're sitting in an old rocking chair (or maybe the souls are) while a storm rages somewhere in the distance.

If you listen to the whole song, there's a distorted voice near the end that says, "You cheated on me with another woman". I think, with that knowledge, it's pretty easy to read those lines to be more like temptation, ruin, and impeding consequences.

But you know what? Here's the part where poetry is kind of magic. With the imagery, maybe, for you, it isn't about the temptation of adultery. Maybe it's about running away, addiction, dealing with a difficult decision... the possibilities are endless. And what's even cooler is that it can change.

When I first listened to Come in Closer, I was playing a character in a World of Darkness game that prophesied to blah blah blah, whatever. The song felt like it was about him. Later, when life was kicking me in the shins, the song started to feel like it was telling me to just get out already.

There are so many examples of wonderful, evocative imagery that I could talk about this for hours. Sometimes I do, much to the chagrin of everyone I know who doesn't care about the deeper meaning of pop music. But whatevs.

If we don't want to be stuck on this for days, we should probably move on to...

Meter


A lot of the examples I've used so far have been songs. In a song, a singer can manipulate the words and warp the meter to be whatever they want it to be. But there are still some great meterists out there.

Like The Barenaked Ladies on Who Needs Sleep?.
My hands are locked up tight in fists
My mind is racing, filled with lists
of things to do and things I've done
Another sleepless night's begun
Okay, so now you might wondering wtf meter is. The easiest way I can think to explain it is this: meter is the rhythm of the words, formed by the stressed and unstressed syllables. When you look up words in the dictionary, you see something like this: an·oth·er - əˈnəT͟Hər. That not only shows you how to pronounce each letter, but also where the stress on the word is.


I'll admit, I didn't look up each of these in the dictionary to find out exactly where the accented syllable is. I just read it out loud and marked where it felt right. If you're completely new at meter, you might want to check, get a little comfortable with it. This should be about right, though.
My HANDS are LOCKed up TIGHT in FISTS
My MIND is RACing, FILLed with LISTS
of THINGS to DO and THINGS I've DONE
anOTHer SLEEPless NIGHT'S beGUN
What we have in Who Needs Sleep? is called iambic. That means it is one unstressed syllable followed by a stressed. Iambic is the most common. It's how most people tend to speak naturally. It's easy to get into and easy to identify. There is a name for pretty much every combination of stressed and unstressed you can imagine. I'm not going to get into that because I want to do other things with my life and no one is paying me for this.

Not all poetry has meter. Those pieces are called Free Verse. However, meter is kind of like salt. Not everything needs it, but it's almost never a bad idea to add it. Even most cake and cookie recipes call for salt.

Robert Frost was kind of a master of this.
The WOODS are LOVEly DARK and DEEP
but I have PROMisES to KEEP
and MILES to GO beFORE I SLEEP
Poe also killed it.
ONCE uPON a MIDnight DREARy while I PONdered WEAK and WEARy
OVer MAny a QUAINT and CURious VOLume of FORgotten LORE
And, even One Direction can be pretty good at it...
WE're ONly GETting OLDer BABy
and I'VE been THINKing aBOUT you LATEly
DOES it EVer DRIVE you CRAZy
JUST how FAST the NIGHT CHANges
There's actually a pretty cool dissection of Night Changes by 1D on this podcast I really dig called Switched on Pop. I'd love to talk about the fact that there are no rhymes and what that means, but they already said a lot of it and I feel like this post is already running long. Which might be okay, except that my brain is starting to vibrate and I can't really tell where I should end sentences anymore and we still need to talk about the fact that...

Everything You Do is a Deliberate Choice


So, this is always true in writing, but especially so in poetry. One of my professors once said that poetry is telling a story in the least amount of space possible. Every word, line break, and piece of punctuation means something.

There's this Emily Dickinson poem called Wild Nights. I got into a pretty heated discussion with a classmate about it. I read it and immediately thought, "Oh, well, this is clearly about sex". But my classmate, she was of the opinion that Dickinson would never write about that.
Wild nights - Wild nights!
Were I with thee
Wild nights should be
Our luxury!

Futile - the winds -
To a Heart in port -
Done with the Compass -
Done with the Chart!

Rowing in Eden -
Ah - the Sea!
Might I but moor - tonight -
In thee!
Okay, sure. Whatever. Maybe it's a poem about reckless abandon on a little boat called Eden and then mooring... in... uh, thee. Which is clearly the dick--I mean dock. Right?

But seriously, for my classmate, this really was just a poem about a boat. And that's fine. That's what she saw. For me, though, this poem is bubbling with excitement. The exclamation points and the em dashes make it feel breathless and urgent. Sure, maybe that's because the narrator really loves rowing. Maybe the em dashes are meant to show the exertion of that very family friendly activity. But there are twice as many as exclamation points as there are stanzas.

When you're working with something as compact as poetry, everything must serve a purpose. Which sounds hard, but it's really just the same as writing. When you're doing prose and you want to describe the setting, you're also setting the mood for the scene. If you can write a scene, you can write a poem.