Type: Structure, Metrical Requirement, Other Requirement
Description: Quintet in syllables 5-7-5-7-7. The first two lines treat one subject, the second two treat another, and the last line is a refrain or paraphrase. The first two lines are a dependent clause, while the last three are independent.
Origin: Japanese
Rhythm/Stanza Length: 5

Pasted from http://www.poetrybase.info/forms/003/332.shtml
My thanks to Charles L. Weatherford for his years of work on the wonderful Poetrybase resource.


Researching, I found: that this is a general and ancient classification of Japanese poetry, where Wa means Japanese and Ka means poem. It differentiated poetry writing in their own language from that written in Chinese, which was the more formal method.

All of the following are then examples of Waka. But I shall persist
and write one specifically to the form indicated by Mr. Weatherford.


Name                     Form                 Note
Katauta                 5-7-7                 One half of an exchange of two poemThas; the shortest type of waka
Chōka                    5-7-5-7-5-7…5-7-7
Repetition of 5 and 7 on phrases, with a last phrase containing 7 on.
Mainly composed to commemorate public events, and often followed by ahanka or envoi.
Numerous chōka appear prominently in the Man’yōshū, but only 5 in the Kokinshū.
Tanka                  5-7-5-7-7         The most widely-composed type of waka throughout history
Sedōka                 5-7-7-5-7-7     Composed of two sets of 5-7-7 (similar to two katauta).
Frequently in the form of mondōka (問答歌 “dialogue poem”?)
or an exchange between lovers
Bussokusekika  5-7-5-7-7-7       A tanka with an extra phrase of 7 on added to the end
Pasted from http://en.wikipedia.org/wiki/Waka_(poetry)


Co-dependent? (Waka)

Men of power use
young women as their just due.
Groupies seek the light.
They will comply completely.
They’re quid quo pro dependent.

© Lawrencealot – August 30, 2014


• The Virelai, is a narrative, an expanded Lai and a member of the Lai family of forms. A poem of a single Virelai stanza is known as a Bergerette.

The Virelai is:
○ stanzaic, any number of nonets (9 line stanzas) may be written at the discretion of the poet. One nonet is called a Bergerette or a Lai when made up of 3 tercets.
○ syllabic, syllables per line 5-5-2-5-5-2-5-5-2.
○ rhymed, it carries a running rhyme from stanza to stanza. aabaabaab bbcbbcbbc ddcddcddc etc until the end, in which the long line rhyme of the first stanza is repeated as the short line rhyme of the last stanza, ffaffaffa.

○ Telling the Storm by Judi Van Gorder

It happened at night
it gave me a fright,
the slash!
I watched it ignite
like a flame in flight
its dash
like a fighting kite
waving fiery bright,
so brash.

The thunderous crash
made the fish-tank splash.
The room
shook after the flash,
I pulled back the sash.
The womb
of the storm, the clash
was done with panache,

When done, to resume
and dispel the gloom,
I write.
To tell with a plume
and bring forth the bloom,
a light.
In time to exhume,
a poem to groom

Pasted from http://www.poetrymagnumopus.com/index.php?/topic/686-lai-family-of-forms-lai-lai-nouveaukyriellebergerettevirelai/
My thanks to Judi Van Gorder for years of work on this fine PMO resource.


My example

When Wally Wanders
When Wally Wanders (Virelai)

When Wally some way,
went walking away,
I snored.
I thought it okay
there’s little to stray
But to my dismay
without his display
I’m bored

He’s always deplored
the thought of a cord
Although I’d be floored
He would be adored
if snatched.
I’ll post a reward
to get him restored-
much scratch.

If he’s met his match
and he’s in the hatch
I may
just act with dispatch
to undo the latch
As runt of the batch
he was a fine catch,
I’d say!

© Lawrencealot – August 30, 2014

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Snám Suad

Snam Suad (swimming of the sages or floating phrases), is a dan direach or direct meter form of the Ancient Irish forms, written with very short lines.

The Snam Suad is:
• an octastich, a poem in 8 lines.
• syllabic, 3 syllable lines.
• rhymed, rhyme scheme aaxbcccb.* x being unrhymed.
• L4 and L8 must be 3 syllable words.
• written with cywddydd (harmony of sound) and dunadh (beginning and ending the poem with the same word, phrase or line).

Movie Night by Judi Van Gorder

not frightful,
time for fun,
Friends commune,
lovers spoon,
singers croon,

Pasted from http://www.poetrymagnumopus.com/index.php?/topic/1167-snam-suad/

My thanks to Judi Van Gorder for years of work on this fine PMO resource


*In order for dunadh to apply, this poem MUST begin and end on the same 3-syllable word. Therefore the following is possibly the correct rhyme scheme.
Rhyme Scheme: aaxabbba

Here a poem the uses aaxbcccb using a “like word”dunadh.

Soap and Suds by Katherine Moore

Laundry day,
work not play.
Fluff and fold
see swirled suds,
washing duds,
drinking Buds,

Copied from http://tampareviewonline.org/blog/snam-suad/

My examples (sNaao Sooud)

Apparent (Snam Suad)

but errant
look at things
Seen because
supports cause–
not what was

That was my presumed scheme since it fit Van Gorder’s poem.

Here’s a poem the uses aaxbcccb using a “like word”dunadh

Seen to Be (Snam Suad)

or errant
some things give
like a feint–
camo paint
things that ain’t
© Lawrencealot – August 29, 2014

Visual Template for either:

Snam Suad)

Virelai Ancien

Viralai Ancien is a Medieval descendant of the Lai. It is long with very restricted rhyme. 

The is:
○ stanzaic, usually written in any number of 12 line stanzas made up of 4 tercets. Six or nine line stanzas can be used but according to Bob Newman anything less than 12 lines is for wimps.
○ syllabic, 8-8-4-8-8-4-8-8-4-8-8-4-8-8-4.
○ rhymed aabaabaabaab bbcbbcbbcbbc etc. The short line rhymes of the previous stanza become the long line rhymes of the next stanza. At the end, the long line rhymes of the 1st stanza becomes the short line rhyme of the last stanza.

Pasted from http://www.poetrymagnumopus.com/index.php?/topic/686-lai-family-of-forms-lai-lai-nouveaukyriellebergeretteVirelai

My thanks to Judi Van Gorder for years of work on this fine PMO resource.


Virelai Ancien

The virelai ancien is a medieval form that has done well to survive this long, and is unlikely to be widely mourned if it doesn’t survive very much longer. Perhaps my feelings toward it would be more charitable if I hadn’t just forced myself to write one of the wretched things. This is how it turned out:
The Virelai Ancien

The virelai’s a lot of fun!
Of flavours, most forms have but one,
But it has two.
The ancient flavour first was spun
When time itself had just begun;
The world was new.
Some neolithic Tennyson
Beneath the prehistoric sun,
Who’d had a few –
The Muse struck him, and soon he’d done
A verse form that would run and run.
’Twas quite a coup!

He sang of hunting caribou;
Of making of it a ragout;
Of gluttony.
His whole tribe – later called the Sioux –
Went wild about this form’s debut,
Its subtlety.
A tidal wave of ballyhoo,
Of photo shoot and interview –
Celebrity –
Engulfed our hero ere he knew.
Then other bards tried to outdo
His minstrelsy.

It was a wondrous sight to see,
This verse form’s popularity –
They wanted more!
For there had been a scarcity
Of highly-structured poetry
There, theretofore.
The virelai’s complexity
Imparted a resplendency
None could ignore.
It spread by bush telegraphy
To Blackfoot, Crow, and Cherokee,
From shore to shore.

It didn’t last. A natural law
Of nature, red in tooth and claw
(Exemptions: none)
Ordains that, like the dinosaur,
Each species must in time withdraw,
Its race well run –
Though no Sioux critic, brave or squaw,
The virelai nouveau foresaw,
Or how it won.
And yet the ancien lost the war.
The Sioux don’t write them now, and nor
Does anyone.

As you see, you need rhymes literally by the dozen – each rhyme occurs 8 times in the long lines of one stanza, and 4 times in the short lines of the next (and the form loops back at the end, so that the short lines of the last stanza rhyme with the long lines of the first). You can have as many stanzas as you like, but personally I’d say four was enough for anybody. 
(Actually you’re allowed to have 9-line stanzas, or even 6-line stanzas, as long as you stick with the pattern of 2 long lines followed by a short one, and honour the rhyming scheme. But stanzas shorter than 12 lines are for wimps.)
In truth, the virelai ancien seems to me to be much more of a test of ones ability to find rhymes than a recipe for writing a good poem. But if you enjoy a challenge, go for it!

Pasted from http://www.volecentral.co.uk/vf/virelai_ancien.htm

My thanks to Bob Newman for his years of work on the wonderful Volecentral resource.

My example

Photo Shoot Recruit (Viralai Ancien)

We left a house of ill repute
where we’d produced a photo shoot
with maidens there.
We never sought forbidden fruit
(we were old farts and lacked the loot;
it wasn’t fair.)
One girl was blond and very cute
could have been Laura Vandervroot;
I could but stare.
Then we continued on our route,
where starlets longed for our salute;
they posed with flair.

So many of them were named Cher,
or Joy, Cherie, or even Claire
I got confused.
I viewed a many derriere
and ogled bosoms almost bare
and still perused.
A plain or ugly girl was rare
They all looked lovely in the glare
Their beauty oozed.
In evening gowns or under wear,
they paraded without a care.
I was bemused.

Then finally we were all excused.
When asked what kind of film I’d used
I said, “Aw,shoot!”
The roll of film had gone unused.
My boss was feeling unamused.
I got the boot.
Although I’m sore and slightly bruised
and thoughts of pay were disabused
d absolute
I certainly remain enthused
My camera can be re-used
so failure’s moot.

© Lawrencealot – August 28, 2014

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Virelai Ancien


The Triversen, (triple verse sentence), is a sentence broken into three lines. It has also been referred to as a “verset”, a surge of language in one breath.

The Triversen was originated by William Carlos Williams as a “native American” poetic form of the 20th century. According to Lewis Turco in his Book of Forms, it is “one of the most innovative things done to modern free-verse.” It introduced the “variable foot” to free verse. As best as I can understand, the “variable foot” is a phrase or portion of a sentence contained within a line.

The Triversen is:
• accentual. The rhythm of normal speech, employing 1 to 4 strong stresses per line.
• stanzaic, written in any number of tercets. Each tercet is a sentence broken into 3 uneven lines, each an independant clause.
• grammatical. The sentence is broken by line phrasing or lineating or sense units. There should be 3 units. L1 is a statement of fact or observation, L2 and L3 should set the tone, imply a condition or associated idea, or carry a metaphor for the original statement.
• unrhymed.
• alliterated. Alliteration accentuates stress.

Eventide by Judi Van Gorder 8-20-05

Sunset silence is interrupted
by a cursory

sun slides 
behind the horizon.

Twilight arrives 
with a hic-up 
and a wink.


On Gay Wallpaper by William Carlos Williams

The green-blue ground
is ruled with silver lines
to say the sun is shining.

And on this moral sea
of grass or dreams like flowers
or baskets of desires

Heaven knows what they are
between cerulean shapes”
laid regularly round.

Mat roses and tridentate
leaves of gold
threes, threes, and threes.

Three roses and three stems
the basket floating
standing in the horns of blue.

Repeated to the ceiling
to the windows
where the day

Blow in
the scalloped curtains to
the sound of rain

Copied from: http://www.poetrymagnumopus.com/index.php?showtopic=618
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

water lilies

Water Lilies (Triversen)

Water lilies on pond’s surface
lie in wait
just as though expecting us.

Posed on pads in proud profusion
as they might for Claude Monet;
only now, awaiting us.

Water lilies seem eternal
you and I
have just begun.

© Lawrencealot – August 27, 2014


Type: Structure, Metrical Requirement, Rhyme Scheme Requirement, Isosyllabic, Simple
Description: A nine-lined rhymed poem. It is isosyllabic, and being French, goes well with Alexandrines.
Origin: French
Schematic: aabbccabc
Rhythm/Stanza Length: 9
Line/Poem Length:          9

Pasted from <http://www.poetrybase.info/forms/003/320.shtml

My thanks to Charles L. Weatherford for his years of work on the wonderful Poetrybase resource.


The Trine is a verse form which apparently originated in France and is described at Poetry Base. Trine is Anglo-French meaning “three each” and in astronomy it is three planets 120 degrees adjacent to each other forming an equilateral triangle.

The Trine is:
• a poem in 9 lines made up of 3 rhymed couplets followed by a tercet.
• isosyllabic, (same syllable count), using the French Heroic line, the Alexandrine, would be appropriate but I don’t think it is a prerequisite. (I use 9 syllable lines in the example below.)
• rhymed, rhyme scheme a a b b c c a b c.

Trifling Trinity by Judi Van Gorder

High pitch chatter comes out of the dark,
a racing rat skitters through the park.
On his tail a dragon breathing fire
chasing the rodent into a briar.
While up in a palm a monkey cheered
and clapped his hands thinking nothing weird.
This gay game they play I must remark,
for some is nothing to aspire,
though for this three it’s fun commandeered.

One trine in Chinese Astrology is the Rat, the Dragon and the Monkey. The Trine is also the name of a popular Video Game, although I have no idea what the theme of the game is.

Pasted from http://www.poetrymagnumopus.com/index.php?/topic/1847-trine/

My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

Rhetorical Answers (Trine)

“If all the world is but a stage,”
I asked a wise and wizened sage,
“where will the audiences sit?”
and one more question ‘fore I quit,
as I assume you’re not adverse,
Do backwards poets write inverse?”
“Rhetorical requests engage,
and spurs one to access one’s wit,
I’ve heard some good, some bad, some worse.”

© Lawrencealot – August 26, 2014
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Structure, Metrical Requirement, Repetitive Requirement
Description: Form invented by US poet John Ciardi, it could be considered a semi-gloss. It consists of six six-line verses. Each line of the first verse is the first line of one of the six verses in order. Ciardi’s trenta-sei was written in five-stress accentual lines.
Attributed to: John Ciardi
Origin: American
Schematic: Repetition scheme:
Rhythm/Stanza Length: 6
Line/Poem Length:          36

Measuring poetry as accentual verse, one only counts the stressed syllables in the line, so a line might have four stresses and anywhere from four to sixteen syllables and still be considered a four-stress line. Many forms of accentual verse use alliteration to tie the stresses together.

Pasted from <http://www.poetrybase.info/forms/003/318.shtml
My thanks to Charles L. Weatherford for his years of work on the wonderful Poetrybase resource.


The poem consists of six six-line stanzas rhyming ababcc, with lines two through six in stanza one becoming line one of a following stanza, in that order. As a resolving device, he allows the fifth line of stanza one to change from the present tense to the past when it appears as the first line of stanza five.
As in other works by John Ciardi, the line is clearly the unit of the poem, a unit at the same time of sound, sense, and syntax, so that the reader progressing through the poem feels solid ground underfoot. At the same time, most of the lines raise a question, in the mind of the reader, that the next line will answer:
The species-truth of the matter is we are glad (of what?)
to have a death to munch on. Truth to tell, (which truth is what?)
we are also glad to pretend it makes us sad.
When it comes to dying, Keats did it so well (how well?)
we thrill to the performance…
And so forth, building for the reader a compelling sense of forward motion.
Ciardi’s rarest accomplishment in this poem, apart from the prosodic form, is the closing of a thought with the closing of each stanza. It’s not often that we find a poet so clearly in control of the poem.
The resolution of the poem is perhaps its finest moment: It looks back on itself and says to the reader—inductively, so that she can take it home—“This is what the poem is getting at,” and says it with such finality that if it were the last line on the page, one would not turn the page to see if the poem ended there. The poem doesn’t just end: it resolves.
All of this is to say that John Ciardi has done what the maker of any artwork wants to do, which is to make the very difficult look easy, to give form to the wildest feelings, and—though this rarely happens—to give the art a shape it didn’t have before. One would think that such a shape in poetry would begin to appear in anthologies and textbooks, and that other poets would be persuaded by the intriguing challenges and possibilities to write their own trenta-seis.

Pasted from http://www.poetryfoundation.org/learning/guide/242214


Trenta-sei, (French = 36), is a modern day verse form that appears to have taken its cue from the Sestina and the Villanelle. “Like the Sestina it is a strong pattern not likely to get lost in the language of the poem” Miller Williams, Patterns of Poetry, although it seems less “thought out”. The rotating repetition of lines from the first stanza brings a little feel of the Villanelle but the repetition is less obvious. The Trenta-sei was created by a 20th century American Poet, John Ciardi.

The Trenta-sei is:
• narrative verse.
• usually written as accentual verse (the rhythm of today’s speech) with 5 stressed syllables per line
• stanzaic, composed of 6 sixains, 36 lines total.
• rhymed, with the rhyme scheme of a heroic sestet, aB1A1B2C1C2 / B1dbdee / A1fafgg / B2hbhii / C1jcjkk / C2lclmm
• composed with each line (with the exception of L1) of the first stanza taking its turn as the first line of the following stanzas..

Game Six, a trenta sei by Judi Van Gorder 10-26-02
Bonds at bat, Rodrigues paws the mound,
no outs, one strike, two balls, two more, will he walk?
Excited fans react with thunder stick sound
the summer sport disciples have come to gawk.
Illusive is the rocky road to fame,
a national favorite, a World Series game.

No outs, one strike, two balls, two more, will he walk?
It’s the top of the sixth, no runners on base
he swings with quickening speed and powers the rock
I watch the ball soar high—to outer space,
and he does it again and jogs home to his fate;
his place in history, he’ll not abdicate.

Excited fans react with thunder stick sound,
with rattle slap and clatter, when will it stop?
The noise so loud it shakes and rumbles the ground
like a stampede of horses running clippety-clop
and what is with that monkey on the stick?
If Giants should win, the angels will be sick!

The summer sport disciples have come to gawk
enjoying beer and hot dogs passing around
while spectators cheer, others in shock.
It’s the thrill of the place, the faithful expound,
intensity builds increasing the sound of the din
and I pray for my team to bring home the big win.

Illusive is the rocky road to fame,
the team in red at home and now, down one.
My guys on the road, with ralley monkeys to tame;
a hit, the Angels scored, now this is no fun.
The top of the ninth, can we pull this one through?
My stomach in knots like I just got the flu.

A national favorite, a World Series game,
“strike three” he shouts–and number six is done,
tomorrow tells if hopes go up in flame.
Another nine innings and the best team has won,
we’ll call them the champs and have a parade.
my hopes are the Giants will make the grade.

Pasted from http://www.poetrymagnumopus.com/index.php?/topic/620-trenta-sei/

My thanks to Judi Van Gorder for years of work on this fine PMO resource.

Rhyme scheme: aB1A1B2C1C2 B1dbdee A1fafgg B2hbhii C1jcjkk C2lclmm

My example

Note: Dear readers this uses FOUR stressed syllables per line, rather than the standard 5, simply the result of this poet’s inattention.

Tytler Unfolding   (Trenta-sei)

To ask for more from other men,
expecting something is your due
to take and take and take again
That leads to power all will rue.
A tyranny must wrest control
to lock down dictatorial role.

Expecting something is your due
when you’ve not served the body’s cause
will only work when just a few
rely on stipends passed by laws.
When many take and few produce
the few will balk at that abuse.

to take and take and take again
requires the government to tax.
the payer may not now abstain
and takers need not even ask.
At some point, ruler will inflate
in order to accommodate.

That leads to power all will rue.
Dependency per Tytler’s rules
is followed by dictator’s coup.
When selfishness makes many fools
and wealth has had to concentrate
the government must confiscate.

A tyranny must wrest control
and then the one-percent must fall
to keep the masses on the dole,
then things deteriorate for all.
And thus the cycle will repeat-
with bloodshed when there’s naught to eat.

To lock down dictatorial role
The business king-pins must be crushed.
An iron fist must take its toll-
then pain- the cycle can’t be rushed.
We’re getting close; I fear great cost
we must awaken ‘ere we’re lost.

© Lawrencealot – August 25, 2014

* The Tytle Cycle is explained here:

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I found a few invented forms which appear to be exclusive to The Study and Writing of Poetry; American Women Poets Discuss Their Craft, 1983. The book is a collection of essays from 50 American women poets, each essay provides insights into a multitude of topics from poetic genres, stanzaic forms, to writing techniques. This book provided some addition insights and background information on several stanzaic forms that I thought I had researched fully. I liked this book, it pays attention to the details.

• The Orvillette is an invented verse form crated by Virginia Noble as a tribute to her son, Orville, a disabled World War II paratrouper. 

The Orvillette is:
○ a verse form, written in 4 quatrains, a poem in 16 lines.
○ metered, iambic tetrameter.
○ composed with a refrain and a rentrament. L1 is repeated as L1 in each quatrain. The first 3 syllables of L4 are repeated as the first 3 syllables of L4 in each quatrain.
○ rhymed, Raba Rcbc Rdbd Rebe. L3 of each stanza carries a linking rhyme between stanzas.

x x x x x x x R
x x x x x x x a
x x x x x x x b
r r r x x x x a

x x x x x x x R
x x x x x x x c
x x x x x x x b
r r r x x x x c etc.

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=2008#anna
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

My Tin of Paints (Orvillette)

My Tin of Paints

My tin of paints contains it all
from places that I’ve never been
with scenes that scare me and enthrall,
important only now and then.

My tin of paints contains it all
A dragon facing me one day
gives way to maidens lithe and tall.
Important things those pictures say.

My tin of paints contains it all
I play, or get things off my chest.
No picture ever seems banal
Important feelings are expressed.

My tin of paints contains it all
With my own brush and putty-knife
and my inventive wherewithal
Important times are brought to life.

© Lawrencealot – August 24, 2014

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Although it is not mandated, I chose the refrain end word rhyme to agree with the b-rhyme.


I found a few invented forms which appear to be exclusive to The Study and Writing of Poetry; American Women Poets Discuss Their Craft, 1983. The book is a collection of essays from 50 American women poets, each essay provides insights into a multitude of topics from poetic genres, stanzaic forms, to writing techniques. This book provided some addition insights and background information on several stanzaic forms that I thought I had researched fully. I liked this book, it pays attention to the details.

• The Grayette is an invented verse form created by James R Gray of Commerce, California.

The Grayette is:
○ a poem in 12 lines.
○ metric, iambic L1,L6,L7 and L12 are monometer, L2, L5,L8 and L11 are dimeter, L3, L4, L9 and L10 are tetrameter.
○ rhymed, x a b a x b x c d c x d, – x being unrhymed.

x x
x x x a
x x x x x x x b
x x x x x x x a
x x x x
x b
x x
x x x c
x x x x x x x d
x x x x x x x c
x x x x
x d

Pasted from http://www.poetrymagnumopus.com/index.php?showtopic=2008#anna
My thanks to Judi Van Gorder for years of work on this fine PMO resource.

My example

When I had to Wear Shoes (Grayette)
When I had to Wear Shoes

My shoes
had no logo
no Velcro snaps nor any gel.
No superstar wore them for show.
They simply served
me well.
My feet
were bare as oft
as they were not, back in that day,
but tennis shoes helped give me loft
I saved them just
to play.

© Lawrencealot – August 24, 2014

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This is an invented form created by Mary Boren, aka Meter_Maid on Allpoetry, who hosts a compelling new site called Poets Collective.

It is a poem of 7 lines
It is metrical, requiring several specific metrical feet, to wit:
L1: A pair of spondees
L2-3: Dimetrical dactylic couplet plus a hard beat at the end
L4-5: Anapestic dimeter, not rhyming with each other
L6: Anapestic trimeter, rhyming with L4
L7: Anapest. amphibrach, or iamb, which may, but is not required to rhyme with L5
It is formulaic, requiring a person’s name in either line 2 or 3.
It is themed:
 ” to capture a person’s unguarded moment, breaking stereotypes.”  I’d like to somehow convey that the task is to zoom in on descriptive details that plant a distinct concrete image, preferably an unexpected one.  You could almost say it has a volta at L5, as it catches something a camera would miss.  
It is rhymed with rhyme pattern: xaabzbz, where “z” lines may rhyme or not.

My example

Just Notions  (Snapshot)

Think long, think wrong!
Lawrence R. Eberhart thought
thinking of things he was taught
would most surely reveal
at least one salient fact
he was wrong all along on that deal
looking back.

© Lawrencealot – August 23, 2014
Note: This poem fails to be a Snapshot lacking the apparently candid moment required by the theme.

Try this one:

Neighborly Chat  (Snapshot)

Stop, look, think back.
Shoveling snow from the walk
Jerry MGee stopped to talk
with the girl from next door
he’d forgotten her name,
but remembered her shape from before,
quite a dame.

© Lawrencealot – August 23, 2014

Visual Template

Note: Several options exist for L7.