The F Words: Poetry and the Middle

In my previous blog I mentioned that in writing The F Words based on the advice in Write Your Novel from the Middle, by James Scott Bell, I reaped not only the benefit of writing a book more easily and more quickly, but also the benefit of improving one of my thematic elements precisely because I was writing the novel toward its middle.

That thematic element was Cole’s writing of poetry. Specifically, only poetry about words that began with the letter f. As I mentioned in a previous blog, The F Words: Poetry, I felt good about the two poems Cole wrote in Chapter 1. They reflected Cole’s experience and his deepest concerns.

And so, off to a good start, both Cole and I were quite happy to have him continue writing such poems. Whenever he was struck by an f word (and he was struck by a lot of them) he decided whether or not to write a poem about it.

He wrote one about his best friend, Felipe. And about the Ferris Wheel he and his parents used to ride when he was younger. He wrote about force. Then he learned a new word and wrote about a fusillade. And so forth.

As I approached the middle of the book in my writing, something began to nag at me, and that was that Cole’s poems all had a recipient: Mr. Nachman, his English teacher, who had made the writing of them a condition of his not telling the principal that Cole had spray-painted the high school wall. Having had wonderful English teachers in high school and college, having been an English teacher myself, I realized that Mr. Nachman was not a passive recipient of these poems. He assigned them for a reason, and he would comment on them for a reason.

As soon as that realization hit me, I understood that Mr. Nachman would help Cole understand more about language and structure. And thought and action. I also understood that what Mr. Nachman has to offer Cole should logically follow Cole’s midpoint self-assessment. So, a couple of chapters after Cole’s midpoint decision, Mr. Nachman talks to him about trying some poetic forms (which include syllable-count poetry). He explains to Cole that writing poems that fit a certain form challenges poets in a way that free verse doesn’t. What Cole has been writing up to this point are free verse poems.

Mr. Nachman gives Cole the URLs to a couple of web sites which explain poetic form. At home Cole visits these sites and dismisses many of the forms as waaaaaay too difficult. But the syllable-count cinquain appeals to him. Curious about what form will do to a poem, he rewrites one of his free verse poems, “Force,” as a cinquain. Thus the poem “Force” appears twice in the book. Cole’s gut feeling is that the more “disciplined” form poem is more more interesting. In fact, he likes the way the form poem explodes with power.

Force

Force us
into corners
where we can barely breathe,
force us back so far we explode
on you.

For the remainder of the book Cole writes both free verse poems and form poems. His last poem is a strong form poem . . . indicating both that Cole understands the need for people to fight back against oppression, and that he has internalized that the methods of fighting back must be shaped and organized.

Would these scenes and this theme (through poetry) have occurred to me if I had been writing the novel from beginning to end without thinking about what happens in the middle? The answer is, I don’t know. I like to think that they would have, but I can’t say that for certain. What I do know is that they happened because I was thinking specifically about what should happen in the middle of the novel. That was when I realized that something should happen not only to Cole, but to the poetry he writes. In so many different ways, I am so glad I took the time to read and think about Write Your Novel from the Middle.

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