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January, 2008

Love Poems

Seeing Like A Poet
Eye openers
By  Charles Ghigna

Look for colour, size, shape, and texture. Allow your mind to roam freely.
Fine-tuning your ability to notice detail is one of the most important skills a writer can develop. Itís also lots of fun.

Every time you see something new, take a moment to really get to know the object with your eyes. Practice this technique on new things that you see. Take time to rediscover old, familiar objects and places. Look out the window and find something new. Take time to let your vision appreciate your discoveries. Look at the detail. Let your mind tell you what your eyes have found.
Try this technique on people. Try it on a loved one you may have taken for granted. Look at them. Really look at them as though you are seeing them for the first time. Look closely. Find something new about them that you have never seen before. Appreciate them with your eyes.
Look at nature. Study the sky, the trees, birds, and other animals. Open your eyes wide and take in the entire landscape. Slowly zoom in on one particular subject. Notice its detail. Describe it in your mind by simply listing what you see.
Give your eyes permission to be young and curious again. Look for things to behold, for things to bring into your new world of observation. Look up at the sky. Forget the cumulus, cirrus, and stratus. Search for the long-tailed dragons and sailing ships. Let the child in you wake up with fresh eyes each day.

Try these six steps:

  • LOOK. The first step in any kind of observation is to simply open your eyes and look.
  • SEE. Now pause and focus on the object, person, or scene.
  • NOTICE. Select one, specific area to study.
  • PONDER. Allow your mindís eye to enter into your vision.
  • STUDY. Explore all the minor detail of your subject.
  • BEHOLD. Allow your mind, your emotions and all your senses to begin making free associations, literal and abstract, with each aspect of your subject until the delicate essence of your subject is no longer simply a part of your observation, but a part of you.

Look for colour, size, shape, and texture. Try to feel the object with your eyes. Choose new vantage points from which to observe the familiar. Look for similarities and differences. Look for parallels and contradictions. Look from the inside out.
Play what-if games with your observations. What if it were larger or smaller? What if it were a different color, size, or shape? What if it were found someplace else? What else could it be other than what it first appears?
And finally, remember what the poet Paul Valery once wrote: "To see is to forget the name of the thing that one sees." Forget and behold.


Consider your mind the darkroom,
Consider your life the lens,
Consider your eye the camera
On whose focus the poem depends.

Read Charles Ghigna's poetry excerpt from Speaking In Tongues

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Charles Ghigna (Father Goose) is the author of more than thirty books of poetry for children and adults. His poems also appear in a variety of magazines from the New Yorker and Harper's to Cricket and Highlights for Children. For more information, please visit

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© Freelance Writing Organization - International 1999-2049

IN This Issue
The Long Life Of Poetry
Marketplaces For Your Poetry
Haiku: Highest Art
What Am I Doing Wrong?
Lyrically Speaking
Writing Poems
The Mind Of A Poet
A Poem Is A Little Path
Seeing Like A Poet
Speaking In Tongues (Excerpt)

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Bald Ego
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Writerís Block
The path to inspiration starts
Upon the trails weíve known;
Each writerís block is not a rock,
But just a stepping stone.

Poetry Is Not
Penned to the page
Waiting for us to admire.
It is only a lonely thought
Caught by tears on fire.

Silent Echoes
A quiet rhyme upon a page
Is what a poet gives;
Some gentle words whispered in trust
To see if memory lives.

Bard From Deadlines
What makes a poem finally work
Is not the time it takes;
Itís how the poet used the muse
To prophet from mistakes.

Be Mused
The art and craft of poetry
Are not so far apart;
The craft comes from the cunning,
The rest comes from the heart.

Fine Vintage
Donít plant your poem on the page
As though youíre hanging drapes;
Itís shape and flow should come and grow
Like wild summer grapes.

Getting It Write
Writers write what they know best,
Their passions, fears, and dreams;
Writers rarely write about
What other call their ďthemes.Ē

Double Vision
A writerís life is paradox,
Itís more than what it seems;
We write of our reality,
The one inside our dreams.

The echo of a promise,
The thunder of a sigh,
The music of a memory,
A child asking why.

Letter Perfect
Twenty six symbols arranged on a page
Can send a soul to heaven or torment it with rage,
Can free a fragile world or hold it in its net--
The power and the magic of the mighty alphabet.

The Write of Passage
The jump from writing just for fun
To getting paid for it
Begins when you first realize
You know youíll never quit.

It is not the magic of his wings
That sets us free from our bond.
It is the muse within ourselves
That lets our words lift us beyond.

Photo Poet
Consider your mind the darkroom,
Consider your life the lens,
Consider your eye the camera
On whose focus the poem depends.

Rising Moon
A poem is a rising moon
Shining on the sea,
An afterglow of all we know,
Of all we hope to be.

Star Light
Writing a poem,
Reaching a star,
In making good art
We find who we are.

Spider Web
A poem is a spider web
Spun with words of wonder,
Woven lace held in place
By whispers made of thunder.

The final draft upon the screen,
At last my poemís through;
A verse of only four short lines--
I rewrote twenty-two!

Read All Of Charles Ghigna's Poetry at

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Our Disclaimer Is Based Upon McIntyre's First Law: "Under the right circumstances, anything I tell you may be wrong."