Why Narrative Poetry Is So Damn Hard To Write
Submitted by World Class Poetry Blog
I love narrative poems, but they’re hard to write. Anyone who thinks narrative poetry is easy to write has obviously never tried to write one. The reasons I think narrative poems are difficult are many, but in a nutshell:
- The struggle is in maintaining a balance between the narrative and the poetics
- Too much narrative and the poem becomes prosaic
- Too much poetry and the poem will lilt into lyrical patterns that kill the narrative
- Employment of fiction writing techniques are necessary, but they can get in the way of the poetry if you let them
- Double risk of saying too much or leaving something out
The essence of narrative poetry is such that you have a story to tell, but the way in which you wish to tell the story is not traditional. In other words, the poem becomes a story without becoming fiction. If it were fiction then it wouldn’t be a poem, but it must contain fiction, or fictional elements, in order to achieve the narrative effect. Even lyric narratives must incorporate some element of fiction telling or the narrative is no longer narrative.
I am currently struggling through an experimental narrative poem that is causing me to think more deeply about what a poem is, how a poem should be structured, and why the narrative form is necessary. The poem is based on my experience as an Iraq War officer who was against the war on moral grounds but chose to participate rather than break the law in an act of civil disobedience as so many others have done. The story itself is fictional; the “truth” part is the emotional-philosophical basis upon which its message is communicated.
My Current Narrative Poem Struggle
Initially, I wrote the poem in three-line strophes and it felt contrived. I thought the poem was too stilted and therefore restructured it. I am now taking it into a totally different direction, using experimental techniques, backward lines, angled verses, concrete elements, and formal line units interspersed between free verse lines. It’s working much better, but I’m still not satisfied.
I have a particular style of writing that is unique. I didn’t develop it. It comes naturally. I’ve always been able to tap into this style in one way or another and draw from different parts of my being (intellectual, emotional, spiritual, and intuitive) in such a way that they play nicely together. Sometimes they struggle against each and sometimes they compliment each other, but they are always all involved. What I’m trying to achieve with this poem is a message, a philosophical proclamation that doesn’t come out preachy or didactic. That’s a tough thing to do in any work.
The narrative is necessary for POV, a fictional technique embodied in my natural lyrical style. But it’s a long poem.
As it stands now, the poem is 13 full 8 1/5 X 11 pages with normative 1-inch margins all around. Some of the lines are short, some long. Some are merely one word in length. The stanzas are all different lengths and there is no set metrical pattern throughout the poem. The meter often changes and changes often. Furthermore, there is a setting as in fiction and several characters, each with their own POV and developed personalities. Then I toss in some metaphors and traditional poetic devices like rhyme, near rhyme, internal rhyme, assonance, consonance, repetition, synecdoches, etc. You get my drift.
The problem I’m having is this: Keeping the narrative moving through execution of action (both narrative action and action of language) without making it look and sound ridiculous. I suppose it’s the same struggle that many fiction writers find themselves in when they reach a chapter or a point in their story where they don’t know where to go with it any more. You know it’s not finished but you’re not quite sure what it needs. I’m at that point.
I think it may actually be that I know what it needs. I just don’t know how to give it what it needs, if that makes any sense. Like a man who knows his wife needs a hug but he is incapable of allowing himself to give into the temptation to share that emotional moment with her, be it out of pride, insecurity, or just lack of know-how. I am there and I’m not quite sure why. The poem needs an injection of something but I cannot say what kind of injection because I haven’t diagnosed the problem properly. Have you ever been there? What did you do?
The Too Much-Too Little Dichotomy
I am trying my hardest to maintain a balance between saying too much and telling the whole story. With any narrative, whether it be fiction, poetry, or nonfiction, you have an obligation to the reader to tell everything that is important. You don’t have to tell everything there is to know, but you must tell everything that is important to the story. Otherwise, the reader won’t have a good experience.
Nevertheless, you’ve got to keep it short. Brevity is key in any writing. Say what needs to be said and get out. So my struggle is there, how do I keep it as short as it needs to be and still say everything that needs to be said? In general, a story should tell itself. I’ve always believed that and still do.
I’ve had hard poems to write before. I’ve have some poems so easy to write I couldn’t believe they were actually poems. But this poem is hard. I think it’s hard because of the narrative imperative. It won’t work simply as a lyrical poem, but as narrative it works splendidly. I just wish I could get it off my chest and get on with living.
