MODULE: CREATIVE WRITING

CREATIVE WRITING

At the end of this module, learners will be able to:

 Defines Creative Writing.

 Identify the different imagery, diction and figurative speech.
 Analyze the imagery, diction, figures of speech, and specific
experiences of the specific literary pieces.

Creative Writing
Creative writing is any composing that goes
beyond ordinary expert, editorial, scholarly, or
specialized types of writing, normally distinguished
by an accentuation on account make, character
advancement, and the utilization of abstract tropes
or with different customs of verse and poetics. It is
workable for composing, for example, include
stories to be viewed as exploratory writing, despite
the fact that they fall under news coverage, in light
of the fact that the substance of highlights is
explicitly centered around account and character
improvement.

What Is Sensory Imagery?

Sensory Imagery includes the utilization of elucidating language to make
mental pictures. In abstract terms, it is a sort of symbolism; the thing that
matters is that tangible symbolism works by drawing in a reader's five senses. It
is an artistic gadget author utilize to draw in a reader's brain on numerous levels.
This investigates the five human detects: sight, sound, taste, contact, and smell.
 MODULE: CREATIVE WRITING

VISUAL IMAGERY engages the sense of sight.

Descriptions can be associated to Visual Imagery.
Physical attributes including color, size, shape,
lightness and darkness, shadows, and shade are all
part of visual imagery. The text in italics are some
examples of lines using visual imagery.

Her phone signaled, immediately setting her teeth

on edge. She looked at the broken screen, saw his name,
and slapped the phone back down on her desk.
Armani stretched across her couch, legs twitching
excitedly, and he knew he must be dreaming of the
kittens he tries to capture every morning when he is at
the dirty kitchen.

GUSTATORY IMAGERY engages the sense of

taste. Flavors are the considerations in gustatory
imagery which includes the five basic taste such as
sweet, salty, bitter, sour, and umami—as well as the
textures and sensations tied to the act of eating.

The food tasted good.

The sweet pondant icing melted on my tongue. The
word delightful came to mind.
Summer has always tasted like hot chocolate to
me. His kisses tasted like strawberries under the
sun.

AUDITORY IMAGERY
engages the sense of hearing.
Sound devices such as
onomatopoeia and alliteration
can help create sounds in writing.

Erick sat alone at the bench

nearest the main door so he wouldn't
miss Via. The room was noisy. The
clang of heavy dishes glided from
the kitchen. Ice tinkled as it settled
in his water glass. His watch read
9:30. She wasn't coming.
 MODULE: CREATIVE WRITING

OLFACTORY IMAGERY engages

the sense of smell. Simile is common
in using olfactory imagery, because it
lets writers to compare a particular
scent to common smells like dirt,
grass, manure, or roses. The use of
scents and stinks are common ways to
use olfactory imagery.

The scent of “latik” when my

mother cooks rice cake is really nostalgic
to me.
The street going to their house
stinks of manure and the courtyard of
urine, the stairwells stank of moldering wood and rat droppings.

TACTILE IMAGERY engages

the sense of touch. The feel,
textures and many sensations a
human being experiences when
touching something are associated in
tactile imagery. Differences in
temperature is also a part of tactile
imagery.

When we quickly plunge into

the cool water, it took our breath
away and raised goose bumps to our
arms. We had had been swimming in
this pond since we were kids.

In other references, there is a sixth sense which called Kinesthetic

imagery engages the feeling of movement. This can be similar to tactile
imagery but deals more with full-body sensations, such as those experienced
during exercise. Rushing water, flapping wings, and pounding hearts are all
examples of kinesthetic imagery.

Questions to Ponder: Among the sensory imagery, which was is easy

to use in writing? Which one is hard for you to use? What could be the
barrier in using sensory imageries well in writing?
 MODULE: CREATIVE WRITING

Diction in Writing

Diction is the careful selection of words to

communicate a message or establish a
particular voice or writing style. For example,
flowy, figurative language creates colorful
prose, while a more formal vocabulary with
concise and direct language can help drive
home a point.

What is the purpose of diction in writing?

Writers pick explicit words and expressions relying upon the result they're
attempting to accomplish. The motivation behind a bit of composing decides its
expression. In writing and fiction composing, authors regularly utilize casual
lingual authority and interesting expressions or words utilized for non-exacting
implications, similar to comparisons and analogies. On the off chance that a
researcher is distributing a paper on their exploration, in any case, the language
will be specialized, succinct, and formal, composed for a particular crowd.

In composing a fiction, the language a creator utilizes bolsters the

fundamental story components, such as setting. Style sets up when and where
a story is set by utilizing language local to that time and spots.

Different Types of Diction in Writing

Different styles of diction impact how different ideas
are expressed.

1. Formal diction. Formal diction uses grammatical rules and

uses proper syntax or the formation of sentences. It is considered as
a professional choice of words which can be found in legal documents
like business correspondences and academic articles.

2. Informal diction. Informal diction is more

conversational and often used in narrative literature. This
casual vernacular is representative of how people
communicate in real life, which gives an author freedom
to depict more realistic characters. Most of the short stories
and novels use informal diction to make it easier to understand by anyone
especially if the target audience is anyone.

3. Colloquial diction. These are expressions which are connected to informal.

It is generally representing a particular region or place or era or period.
 MODULE: CREATIVE WRITING

Contractions in American English such as “ain’t” instead of isn’t is an example

of colloquial expressions, the use of colloquialisms make the writing more
realistic.

4. Slang diction. Slang is very informal language or specific words used by a

particular group of people. You'll usually hear slang spoken more often than
you'll see it put in writing, though emails and texts often contain many
conversational slang words.

5. Poetic diction. Poetic diction is driven by melodious words that identify with
a particular subject reflected in a sonnet, and make a musical, or agreeable,
sound. It generally includes the utilization of elucidating language, in some
cases set to a beat or rhyme.

Figure of Speech
A figure of speech is a
rhetorical device that achieves a
special effect by using words in
a distinctive way. Though there
are hundreds of figures of
speech, here we'll focus on 20
top examples.
You'll probably remember many
of these terms from your English
classes. Figurative language is
often associated with literature
and with poetry in particular.
Whether we're conscious of it or
not, we use figures of speech every day in our own writing and conversations.
Some Figures of Speech
Using original figures of speech in our writing is an approach to pass on
implications in new, surprising ways. They can enable our readers to
comprehend and remain puzzled by what we need to state.
1. Alliteration: The repetition of an initial consonant sound. Example: Betty
Botter bought some butter.
2. Anaphora: The repetition of the same word or phrase at the beginning of
successive clauses or verses. Example: Unexpetedly, we were in the wrong event
at the wrong time on the wrong day.
 MODULE: CREATIVE WRITING

3. Antithesis: The combination of two different elements to attian equillibrium

or balance. Example: As Abraham Lincoln said, "Folks who have no vices have
very few virtues."
4. Apostrophe: Directly stating or calling a nonexistent person or an inanimate
object as though it were a living being. It commonly uses an apostrophe as a
punctuation. Example: "Oh, rain! Rain! Where are are you? Rain, we really need
you right now. Our town needs you badly.”
5. Assonance: It is the repetition of the vowel sounds in the structure of
sentences or lines. Example: We shall meet on the beach to reach the “Meach”
Concert.
6. Chiasmus: A sentence or line structure where the half of the statement is
balanced against the other half. Example: The noble teacher said teachers
should live to teach, not teach to live.
7. Euphemism: The use of subtle and nonoffensive words to conceal or to replace
the offensive words in a statement. Example: "We're teaching our toddler how to
go potty," Bob said. The use of the word potty is euphemism.
8. Hyperbole: An overstatement; the use of exaggerated terms for the purpose
of emphasis or heightened effect. Example: I have a ton of homework to do when
I get home. I need to go home now.
9. Irony: It is a statement or situation where the meaning is contradicted by the
appearance or showing the concept. The use of words to convey the opposite of
their literal meaning is the highlight of irony. Example: Thalia received a very
high grade in her quiz resulting that her mother got mad.
10. Litotes: An understatement in which an affirmative is expressed by opposing
its counterpart. Example: A million pesos is no small chunk of change.
11. Metaphor: An implied comparison between two dissimilar things that have
something in common. Example: "All the world's a stage.” of As You Like It
12. Metonymy: A word or phrase is substituted for another with which it is
closely associated; Linking words that are related to the word to be replaced.
Example: The use of the word vow instead of wedding, the pen stands for "the
written word.
13. Onomatopoeia: The use of words that imitate the sounds associated with
the objects or actions they refer to. Example: The clap of thunder went bang and
scared my poor dog.
 MODULE: CREATIVE WRITING

14. Oxymoron: It is the combination of contradictory or incongruous words

such as cruel kindness; Example: “bitter sweet”
15. Paradox: a statement or proposition that, despite sound (or apparently
sound) reasoning from acceptable premises, leads to a conclusion that seems
senseless, logically unacceptable, or self-contradictory. Example: "This is the
beginning of the end," said Eeyore, always the pessimist.
16. Personification: The utilization of inanimate objects or abstraction to
associate with human qualities or abilities. Example: The leaves of the Fire tree
are dancing with the wind during dry season in our country.
17. Pun: A statement with a double meaning, in some cases on various faculties
of a similar word and here and there on the comparative sense or sound of
various words. Example: I renamed my playlist of The Titanic, so when I plug it
in, it says “The Titanic is syncing.”
18. Simile: The comparison between two fundamentally dissimilar things that
have certain qualities in common using like or as. Example: Michael was white
as a sheet after he walked out of the horror movie.
19. Synecdoche: A figure of speech in which a part is used to represent the
whole. Example: Mark is asking for the hand of our daughter.
20. Understatement: A figure of speech employed by writers or speakers to
intentionally make a situation seem less important than it really is. Example:
You win 10 million pesos in a lottery.

For further reading please refer to the link provided:

 https://www.youtube.com/watch?v=uAXG0tb1Zxw
 https://www.youtube.com/watch?v=Hhk4N9A0oCA&list=PL4V33Uz_q
DpzvtJDDxwCZ1zTbF65PAAmT
 https://www.youtube.com/watch?v=GBNQF6IHimc
 https://www.youtube.com/watch?v=s9GQSjYgV3U

References:
 https://www.labroots.com/trending/neuroscience/16103/women-
smell-olfactory-bulbs
 https://literaryterms.net/imagery/
 MODULE: CREATIVE WRITING

STRUCTURAL ELEMENTS OF POETRY

At the end of this module, learners will be able to:

 Defines the structure in poetry.

 Identify the structure in poetry.
 Analyze the tone structure in poetry.

A. STRUCTURE

Form is the appearance of the words on

the page of the reference. It may be different
nowadays since layout artist may simply
adjust and create the desired form of poem.

Poetic Line or Line is a group of words that

form a single line of poetry.

Example: “„Twas the night before

Christmas, when all through the house” is
the well-known first poetic line of “A Visit
from Saint Nicholas” by Clement Clarke
Moore.

Kinds of Metrical Lines/Numbers of Feet

monometer = one foot on a line
dimeter = two feet on a line
trimeter = three feet on a line
tetrameter = four feet on a line
pentameter = five feet on a line
hexameter = six feet on a line
heptameter = seven feet on a line
octometer = eight feet on a line
 MODULE: CREATIVE WRITING

Almost all accentual-syllabic poetry in English, except for isolated lines in lyrics,
will have four or five feet in the line. Probably trimeter through hexameter will be all
the terms you will ever have to use.

Stanza is a section of a poem named for the number of lines it contains.

Example: A couplet is a stanza of two lines. The first stanza from “Barbara Frietchie” by
John Greenleaf Wittier is a couplet:
Up from the meadows rich with corn,
Clear in the cool September morn,

Kinds of Stanza
Couplet = a two line stanza
Triplet (Tercet) = a three line stanza
Quatrain = a four line stanza – This is the usual kind of stanza
Quintet = a five line stanza
Sestet (Sextet) = a six line stanza
Septet = a seven line stanza
Octave = an eight line stanza

Enjambment is when there is no written or

natural pause at the end of a poetic
line, so that the word-flow carries over to the
next line. It affects the forms of the poem on
a page. It can create certain form relevant to
a poem’s content.

The general rules of Capitalization and Punctuation in poetry are not always followed;
instead, they are at the service of the poet’s artistic vision.
 MODULE: CREATIVE WRITING

Verse is a line in traditional poetry that is

written in meter.
Example: In “When I do count the clock that
tells the time” from Shakespeare’s “Sonnet
Number Twelve,” the underlined syllables are
accented, giving the line a metric pattern
known as an iambic pentameter (see Meter).

Traditional Form

 Poems with rhyme and with meter.

Free Verse:
 Unlike metered poetry, free verse poetry does NOT have any
repeating patterns of stressed and unstressed syllables. Does
NOT have rhyme.
 Free verse poetry is very conversational - sounds like
someone talking with you. A more modern type of poetry.

Blank Verse:
 Written in lines of iambic pentameter but does NOT use
end rhyme.
 With METER without end RHYME

For further reading please refer to the link provided:

 https://www.youtube.com/watch?v=G4KTZGtBDe4
 https://www.youtube.com/watch?v=ktr62K-TXP4
 https://www.youtube.com/watch?v=VpsaX2sWbEo
 https://www.youtube.com/watch?v=ygjY4oSlIok

References:
 https://www.familyfriendpoems.com/poem/article-structure-in-
poetry#:~:text=The%20structure%20of%20a%20poem%20refers%20to%20
the%20way%20it,how%20it%20should%20be%20read.
 https://www.aresearchguide.com/poetry-structure.html
 MODULE: CREATIVE WRITING

THE SOUNDS OF POETRY

At the end of this module, learners will be able to:

 Defines the sounds of poetry.

 Identify the sounds poetry.
 Analyze the sounds of poetry.

SOUND
Rhythm is the basic beat in a line of a poem.
Example: “Whose woods these are, I think I
know” is the first line from “Stopping by
Woods on a Snowy Evening” by Robert Frost.
Notice that the accented words (underlined)
give the line a distinctive beat.

Meter is a pattern of stressed and

unstressed syllables. Meter happens
when the stressed and unstressed
syllables of the words in a poem are
arranged in a repeating pattern. In
meter, when poets write, they need to
count out the number of stressed
(strong) syllables and unstressed (weak)
syllables for each line. They repeat the pattern throughout the poem.
 MODULE: CREATIVE WRITING

FOOT is a unit of meter.

A foot can have two or three syllables.
Usually consists of one stressed and one or more unstressed syllables.

TYPES OF FEET
The types of feet are determined by the arrangement of stressed and
unstressed syllables.

TYPES OF FEET
1. trochee (adjective form, trochaic) stressed-
unstressed
a. Never/ never/ never/ never/ never
b. In the/ spring a/ young man's/ fancy/
lightly/ turns to/ thoughts of/ love. (In spite of
a few feet where the stress is debatable,
especially foot 3, this poem is generally trochaic,
as a look at the rest of it would show. It is very
common to omit the final unstressed syllable in
this meter; see c. under accentual-syllabic
above.)

2. anapest (anapestic) unstressed-unstressed-stressed

a. It was man/y and man/y a year/ ago (The variation in the last foot is
common.)
b The Assyr/ian came down/ like a wolf/ on the fold,
And his co/horts were gleam/ing in purp/le and gold.

3. dactyl (dactylic) stressed-

unstressed-unstressed
a. This is the/ forest pri/meval, the/
murmuring/ pines and the/ hemlocks
(The two stressed syllables in the last
foot are required by the classical Greek
form of the epic, which Longfellow is
imitating.)
b. What if a/ much of a/ which of a/ wind
 MODULE: CREATIVE WRITING

4. spondee (spondaic) stressed-stressed

The spondee appears in isolated feet and
never as a dominant meter in an entire
poem. It is a convenient way of describing
feet in which it is hard to determine which
syllable is stressed (e. g., young man's and
hemlocks above) and of describing passages
like the following from sonnets, where Donne
uses the spondees to hammer home the woes
people can face in life and Hopkins uses
them along with internal rhyme, assonance, and alliteration for an unusual
sound effect.

a. All whom/ war, death,/ age, ag/ues, tyr/annies,

Despair,/ law, chance,/ hath slain,/ and you/ whose eyes
Shall be/hold God
a. Crushed. Why/ do men/ then now/ not reck/ his rod?

5. pyrrhic (pyrrhic) unstressed-unstressed. See 6 d. below for an example.

At the/ round earth's/ ima/gined cor/ners blow.
The beginning of this line from Donne has a Pyrrhic Foot followed by a Spondee.
This combination (called a Double or Ionic Foot) often appears at the beginning
of a line.

6. iamb (iambic) unstressed-stressed

The iamb is far and away the most common foot in English, comprising as much
as 90-95 percent of English verse. It is also the most conversational of the feet
and therefore the most flexible and most susceptible to variations. One such
variation, as illustrated in the previous two quotes, is the substitution of
spondees for iambs. Others are listed below:
a. Five years/ have passed,/ five sum/mers with/ the length
Of five/long wint/ers! . . .
In addition to the spondees in the first line, the word with receives what is called
a courtesy accent; that is, it must be given more than normal conversational
stress to fill out the line. Critics have argued that the basic rhythm of spoken
English usually dictates about four stresses per line (the form of Old English
verse) and that lines of poetry with five feet will therefore contain one courtesy
accent. This example also shows how a poet can manipulate meter for effect.
Wordsworth stresses the sense of the time lapse by repeating five and long (and
its noun form length) and stressing these words in normally unstressed
positions.
b. Scoffing/ his state/ and grin/ning at/ his pomp.
 MODULE: CREATIVE WRITING

In addition to the courtesy accent in the fourth foot, Shakespeare includes a

trochee in the first foot. A trochee in an iambic line is called a reversed foot. In
iambic pentameter verse, a reversed foot occurs frequently in the first foot,
sometimes in the third and fourth, and almost never in the second and fifth.
c. To be/ or not/ to be;/ That is/ the question.
The extra unstressed syllable at the end of the line, though not common, is still
a possible variation in an iambic line. Note the fourth foot is reversed (unless you
startle people by saying "That IS the question," as Peter O'Toole is said to have
done in one production of Hamlet).
d. At the/ round earth's/ ima/gined cor/ners blow.
The beginning of this line from Donne has a Pyrrhic Foot followed by a Spondee.
This combination (called a Double or Ionic Foot) often appears at the beginning
of a line.
e. Of all/ that in/solent Greece/ or haught/y Rome,
An anapest in an iambic line is more common in some ages and poets (here,
Jonson) than in others.
f. And my/ tears make/ a heaven/ly Lethe/an flood.
This line by Donne shows such a wide range of variations that we might not call
it iambic if it were not in a sonnet with other iambic lines. As a clergyman, Donne
almost certainly pronounced heaven as one syllable (the way it is in hymns), and
he appears to have stressed the second syllable of Lethean. The line thus
contains three regular feet, a spondee, and an anapest. Donne generally makes
his "Holy Sonnets" very irregular to combine powerful emotion and a oratorical
effect as in a sermon. But the point is that knowing what the regular meter was
supposed to be helps us identify and describe the effect Donne creates.

There are some other exotic feet such as the amphibrach (unstressed-stressed-
unstressed), but for all practical purposes, these six are the ones you need to
know).

Rhythm is the beat created by the sounds of the words

in a poem. It can be created by meter, rhyme, alliteration,
and refrain.

There are five types of rhythm, but we will just

focus with Accentual-syllabic. The number of syllables
and the number of accents is both counted, and the
stressed and unstressed syllables are usually alternated
in a consistent pattern. When we think of poetry in
English, this is the form we think of, and it is the most
common form from the time of Chaucer to the advent of
free verse in the late nineteenth and early twentieth centuries:
a. And justify the ways of God to men. (5 accents, 10 syllables)
 MODULE: CREATIVE WRITING

b. And malt does more than Milton can (4 accents, 8 syllables)

To justify God's ways to man.
c. Wake: the silver dusk returning (4 accents, 8 syllables with final
Up the beach of darkness brims. unstressed syllables in lines 2 & 4
And the ship of sunrise burning omitted, a common variation)
Strands upon the eastern rims.

HOW TO FIND A METER IN ACCENTUAL-SYLLABIC VERSE

1. Find syllables that would ordinarily be accented in a dictionary and in
conversation. In the line "And justify the ways of God to men," for example, the
first syllable in justify and the syllables comprising ways, God, and man would
receive stress in normal conversation. There is a problem: although in the
dictionary and in analyzing meter, we usually talk as if there were only two levels
of stress (stressed and unstressed), linguists suggest that there may be as many
as four in actual spoken English. Thus, in the word justify, the just is stressed
more than i or fy, but fy is stressed more than i. Nevertheless, if you look at
enough lines, you should be able to get an overall sense of the meter. The
important thing to remember is that skillful poets will have a meter, which fits a
pattern, but which is also true to the actual rhythms of spoken English; their
work should sound natural.

2. Because poets want their work to sound natural, the meter of a given line, or
even passage, may vary slightly from the basic pattern; therefore, you need to go
over several lines assigning the stresses where they would fall in normal
conversation. If you look at enough lines, a general pattern should emerge.

3. A stressed syllable will be accompanied by some unstressed syllables, and in

English they usually (though not always) come before the stressed syllable. A
stressed syllable and the unstressed syllable(s), which go with it, are called a
Foot. If you look at several lines, it should become clear whether the unstressed
syllables precede or follow the stressed.

4. After you have found the stressed and unstressed syllables, you may then put
strokes between the feet to determine the meter. The meter depends on the Type
and Number of feet in a line. In the example below, the type of foot has an
unstressed syllable followed by a stressed, and there are five such feet. The meter
would therefore be labeled iambic pentameter (iambic for the type of foot and
pentameter for the number).

The cur/ few tolls/ the knell/ of part/ ing day.

 MODULE: CREATIVE WRITING

End Rhyme has same or similar sounds at the end of words that finish different
lines.
Example: The following are the first two rhyming lines from “The King of Cats
Sends a Postcard to His Wife” by Nancy Willard:
Keep your whiskers crisp and clean,
Do not let the mice grow lean,

Hector the Collector

Collected bits of string.
Collected dolls with broken heads
And rusty bells that would not ring.

Internal Rhyme has same or similar sounds at the end of words within a line.
Example: A line showing internal rhyme from

When they said the time to hide was mine,

- “The Rabbit” by Elizabeth Maddox Roberts
Once upon a midnight dreary, while I pondered weak and weary.
- “The Raven” by Edgar Allan Poe
Rhyme Scheme is a pattern of rhyme in a poem. A rhyme scheme is a pattern
of rhyme (usually end rhyme, but not always).

Example: A quatrain – a stanza of four lines in which the second and fourth lines
rhyme – has the following rhyme scheme: abcb (see Quatrain).
The Germ by Ogden Nash
A mighty creature is the germ, a
Though smaller than the pachyderm. a
His customary dwelling place b
Is deep within the human race. b
His childish pride he often pleases c
By giving people strange diseases. c
Do you, my poppet, feel infirm? a
You probably contain a germ. a

Assonance is the repetition of vowel sounds within words in a line. Example: A

line showing assonance (underlined) from “A Visit from Saint Nicholas” by
Clement Clarke Moore:
The children were nestled all snug in their beds

Sounds of a for words like Lake Fate Base Fade

 MODULE: CREATIVE WRITING

Consonance is the repetition of consonant sounds within words in a line.

Example: A line showing consonance (underlined) from “A Visit from Saint
Nicholas” by Clement Clarke Moore: Not a creature was stirring, not even a
mouse

“silken, sad, uncertain, rustling . . “

Alliteration is the repetition of consonant sounds at the beginning of words.

Example: Notice the alliteration (underlined) in “Sarah Cynthia Sylvia Stout

Would Not Take the Garbage Out” by Shel Silverstein.
Tongue Twisters are perfect examples of Alliteration
If Peter Piper picked a peck of pickled peppers, how many pickled
peppers did Peter Piper pick?

Onomatopoeia are words that sound like their meaning.

Example: buzz, swish, hiss, gulp

Repetition is sounds, words, or phrases that are repeated to add emphasis or

create rhythm. Parallelism is a form of repetition.
Examples: Two lines from “Jabberwocky” by Lewis Carroll showing
parallelism:
Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Read the poem “The Bells” by Edgar Allan Poe and listen to the way the repetition
of the word “bells” adds rhythm and creates an increasingly ominous and morbid
mood.

Refrain is a line or stanza repeated over and over in a poem or song.

Example: In “Jingle Bells,” the following refrain is repeated after every stanza:
Jingle Bells, jingle bells,
Jingle all the way!
Oh, what fun it is to ride
In a one-horse open sleigh!

Word Play is to play with the sounds and meanings of real or invented words.
Example: Two lines from the poem “Synonyms” by Susan Moger:
Claptrap, bombast, rodomontade,
Hogwash, jargon, and rant
 MODULE: CREATIVE WRITING

For further reading please refer to the link provided:

https://www.youtube.com/watch?v=1t16V38gZWE
https://www.youtube.com/watch?v=ktr62K-TXP4&t=1s

References:
 https://www.familyfriendpoems.com/poem/article-structure-in-
poetry#:~:text=The%20structure%20of%20a%20poem%20refers%20to%20
the%20way%20it,how%20it%20should%20be%20read.
 https://www.aresearchguide.com/poetry-structure.html