How To Stop Writing PREDICTABLY

In writing poetry, worldbuilding is essential for creating an environment the reader feels immersed in, and establishes clear rules and expectations for what to expect. Ironically, part of writing is also incorporating changes and newness that are unfamiliar. This balance, or requirement for the acceptably unexpected, can be a challenge in poetry. When done well though, it creates curiosity, surprise, and energy that keeps a reader invested in finishing the poem. Let's talk about some strategies for creating the unexpected, in an acceptable way, for the readers of our poems.New to Fine Print? Every Wednesday at 11AM New York, we take a close look at a single poem to learn more about the craft of poetryWe're looking at a poem by Steph Sunderman Zinger in Rust + Moth, "Summer Camp"00:00 – Setting expectations and subverting them in poetry00:39 – The importance of matching your "new" ideas to your "world" (The Western vs. Aliens analogy)01:06 – Reading: "Summer Camp" by Steph Sunderman-Zinger02:46 – Analysis: Using grief and brevity to create familiarity03:50 – Language of the "familiar": Establishing the camp setting04:18 – Consistency in imagery: Using water and fire elements05:30 – Identifying the "Unexpected but Accepted": Terminology and word choice06:54 – Making it personal: The speaker's experience as the "new" element07:44 – Final Takeaway: Balancing the familiar and the new for stronger writingSee an example, where Fine Print explored how to avoid cliche in writing with 5 techniques: https://youtu.be/PeJuwk7PdOIGet the first 2 modules of our poetry business workbook, The Semester: www.diversespoetry.com/instituteGet a free podcast/mp3/audio version: https://open.spotify.com/show/4vAdMbaunOPziRoovm0K5P?si=pGDmsZ_1T9qjWzTR7KQeYg#diverses #fineprint #LiveOnPoetry