Welcome! New links added daily! Check out the NEW main menu item: Poetry Book Publishing Links to find poetry book publishing links, including links to literary journals and poetry magazines accepting submissions of poetry. If you know of a link to add to this list, let me know by email to tankatuesdaypoetry@gmail.com. ❤

It’s the FIFTH week of the month! Are you ready to work on a specific form?

Let’s talk HAIKU and SENRYU

Japanese poetry forms follow special rules. Just because you have seventeen syllables to play with doesn’t mean you should just write whatever you want. Take the time to learn the forms and understand why haiku is nature related and why senryu is written about the human condition.

HAIKU IN ENGLISH: Traditional Haiku in English is written in three lines with five syllables in the first line, seven syllables in the second line, and five syllables in the last line: 5/7/5, for a total of seventeen syllables written in the present tense.

  • Haiku do not rhyme, nor do they contain metaphors and similes. The use of an implied metaphor is acceptable.
  • The current standards for creating Haiku in English suggest a form with three lines and syllables of 3/5/3 (11 syllables). Even the more abbreviated haiku version with three lines and syllables of 2/3/2 (7 syllables) is now thought of more favorably than the traditional 5/7/5 format.
  • Most haiku are written about nature, the seasons, a beautiful moment in nature, an emotional experience while in nature, or change. A haiku should share a special moment of awareness with the reader.
  • There is often a seasonal word used to explain the time of year, called a kigo, which is a seasonal description, such as: Spring, Summer, Autumn, Winter, and New Year’s. There should only be one kigo per haiku. It’s up to the poet to decide if they want to include a kigo in their poem.
  • Most haiku do not contain titles.
  • The use of punctuation is optional in the creation of the haiku.
  • Three or more haiku written together are considered a series or sequence.

SENRYU IN ENGLISH: Traditional 5/7/5, Current 3/5/3, and Current 2/3/2 syllable structure. A Senryu is written about love, humor, a personal event, and should have irony present.

  • Traditional Senryu in English is written in three lines with five syllables in the first line, seven syllables in the second line, and five syllables in the last line: 5/7/5, for a total of seventeen syllables written in the present tense.
  • Senryu do not rhyme, nor do they contain metaphors and similes.
  • The current standards for creating Senryu in English suggest a form with three lines and syllables of 3/5/3 (11 syllables). Even the more abbreviated senryu version with three lines and syllables of 2/3/2 (7 syllables) is now thought of more favorably than the traditional 5/7/5 format.
  • A senryu is written about love, human foibles relating to a personal event, and should have an element of irony present somewhere in the form.
  • Senryu focus on the awkward moments in life making the human, not the world around them, the subject of their creative endeavor. Senryu poetry deals with the human condition: focusing on sexual matters, family relations, religion, politics, and anything that touches on the pain we experience through sorrow, prejudice, oppression, anger, and frustration.
  • Humor and sarcasm are two of the most favorable elements in a senryu.
  • Use precise, simple language and be direct and explicit in your word choice.
  • Senryu are blunt and do not deal in sentimentality.
  • Three or more senryu written together are a series or sequence.

What makes a good haiku? It must have juxtaposition present. Let’s take one of my poems from last week to illustrate:

nymphs tied to tree homes...
souls married, inter-wreathed as one—
love blossoms in spring

The way I check for juxtaposition is to see if I’ve compared and/or contrasted the elements of my poem. I talk about the nymphs tied to their trees, their souls married and inter-wreathed as one being. That is because the tree and the spirit are connected-one in the same within the tree. My pivot is the last line where I share that love blossoms in spring. (And yes, love is something you would talk about more in a senryu) Good catch!

First, I take the first line and second line and combine them:

nymphs tied to tree homes, souls married, inter-wreathed as one

Next, I take the second line and the third line and combine them:

souls married, inter-wreathed as one, love blossoms in spring

Now the meaning has changed with a more human approach to marriage and how love often blooms in spring. This technique helps the poet see if the paired entities are similar or different. The two parts of the haiku resonate with one another to produce a new meaning. The last line or pivot should make your poem memorable.

This combining of lines works with the 5-7-5 form, but not always with the shorter forms. I’ve been able to use this technique most of the time with the shorter forms. Experiment!

I’ve compared the symbiotic relationship between the dryad and the tree to love blooming in spring. But I’ve also compared souls married and inter-wreathed as one to love blooming in spring.

Did you ever wonder when to use ellipses (…)? Use ellipses when you are moving toward a point.

How about an em dash (—)? Use an em dash when you are moving away from the common point.

We use the above punctuation to create our cutting word, or kireji, which is a concept in Japanese Haiku, but not in English Haiku. Instead we use gaps, line breaks and basic punctuation to do the ‘cutting’ work. That’s why we use ellipses and the em dash.

The New Zealand Poetry Society shares the Power of Juxtaposition. #Recommended READ

One of my favorite senryu poets (he calls them “Screw You Haiku”) is Michael, from the Afterwards Blog. He understands this form so well. Check out this senryu poem HERE. He writes some pretty funny limericks, too!

Here is a senryu I wrote a few weeks ago:

still waters warming— 
I turn, craving your caress
your snores wake the dead

You can combine the lines in this senryu the same as we did in the haiku above.

still waters warming—I turn, craving your caress

I turn, craving your caress, your snores wake the dead

This poem is filled with sexual innuendo and humor. The irony is apparent: one spouse wants to have sex while the other is snoring and still asleep. It figures… right? See how “human” this moment is?

Have fun with these forms. I can’t wait to see what you create.

For this poetry challenge, you can write a haiku and/or senryu on any subject you choose.

Here are some sites that will help you write your poetry and count syllables


This site even has a link so you can install the extension on Google Chrome.


For Synonyms and Antonyms. When your word has too many syllables, find one that works.


Find out how many syllables each word has. I use this site to compose my poems. Click on the “Workshop” tab, then cut and paste your poetry into the box. Click the Count Syllables button on the button. This site does the hard work for you.


  • Write a poem using a form of your choice using haiku or senryu on any subject. Follow the rules of each form.
  • Post it on your blog.
  • Include a link back to the challenge in your post. (copy the Https:// address of this post into your post).
  • Copy your link into the Mr. Linky below (underlined with a hyperlink).
  • Please click the small checkbox on Mr. Linky about data protection.
  • Read and comment on some of your fellow poets’ work.
  • Like and leave a comment below if you choose to do so.

The screenshot below shows what Mr. Linky looks like inside. Add your name, and the URL of your post. Click the box about the privacy policy (It’s blue). As everyone adds their links to Mr. Linky, you can view the other submissions by clicking on the Mr. Linky link on the challenge post. All the links will show in the order of posting.

Follow the monthly schedule listed below:

On April 1st, we kick off National Poetry Month. One of my goals for this year is to write a haiku poem a day on colleenchesebro.com. I hope you will join me. Look for my April 1st post.

Now, have fun and write some poetry!

Syllabic Poetry Donations

Attention Poetry Challenge Participants:

I’ve been working on a “How To” book, called Word Craft ~ The Art of Creating Syllabic Poetry with a goal to self-publish by April 2020. This will be a chapbook and great reference for all syllabic poets.

It’s occurred to me that I would like to include more syllabic poetry examples in the book. I’m looking for donations which I will feature with a citation in the Bibliography, including your name and the year written. You would still retain the rights to your work to publish elsewhere.

I’m looking for Haiku in English (5/7/5, 3/5/3, 2/3/2), Senryu in English (5/7/5, 3/5/3, 2/3/2), Haiga in English (5/7/5, 3/5/3, 2/3/2), Tanka in English, Gogyoka in English, Haibun in English, Cinquain (including Reverse, Mirror, Butterfly, Crown, and Garland), Etheree, Nonet, and Shadorma poetry. NO other poetry forms will be considered.

Additionally, if you donate a poem (or more) I will gift you a MOBI copy of the ebook which you can upload to your Kindle when the book is published.

I reserve the right to not accept your submission if it’s not what I’m looking for. Please email your syllabic poetry submissions to tankatuesdaypoetry@gmail.com no later than February 29, 2020.

I will reply to your email if your poem is accepted. That email, will give me permission to publish and recognize your poem in my book. I feel like this is a great opportunity to get your poetry published in a way that will help others learn to write syllabic poetry.

Thanks for considering this opportunity! I appreciate you all.

Monday’s Walk, Traditional & Current #Haiku Forms #MondayBlogs

I didn’t get a chance to use the prompt words this week for my own poetry challenge, so please forgive me.

I left early for my walk this morning. My phone shared the news that the weather was a mild 55 degrees F. Yet, I knew better. The winds in western Arizona howl across the desert making it feel far colder than the numbers suggest. Without a second thought, I grabbed my winter coat.

As soon as I shut the front door, the first wind gust hit me. Hang onto your hats, I thought, this was going to be a difficult workout!

At the end of my street, I paused to listen to the musical cries of the coyotes brought to me on those same winter winds. I slipped on my gloves and plodded onward.

On the way back, I noticed how the wind rolled over the clouds, making them look like waves in an ocean.

I snapped this photo because it would produce a winter Haiku and I wanted to memorialize those clouds. First, a traditional Haiku:

alabaster clouds
whitecaps in a blue sky sea
winter winds in flux

In the 3/5/3 format:

winter clouds
waves in a sky sea
winds in flux

In the 2/3/2 format:

pale clouds
sky surf swells

all Haiku forms: ©2020 Colleen M. Chesebro

Haiku are often written about nature. True Haiku uses a kigo – a seasonal word to help define the season. Can you pick out my kigo seasonal words? They are: winter winds, winter clouds, and winter.

Why do we use Kigo? Because these words help to bring the reader into your personal experience by sharing the season. Traditional Haiku always required the use of a kigo.

Check out Wikipedia.org to find more kigo to make your Haiku shine.

Brave the winter winds and write some Haiku!

5/7/5 vs 3/5/3 & 2/3/2 Haiku & Senryu Styles

I removed the poetry contest post from “Failed Haiku” that I shared on my blog a few days ago. It upset the owner of Failed Haiku that we use the traditional 5/7/5 format for Haiku and Senryu in my poetry challenge. When I suggested that I would include all forms in my weekly challenge, he responded:

Well, it is a real ‘form’ in Japan and in the West. 5/7/5 is NOT the way to write poetry in my opinion.

You are the very reason we all publish real haiku. Teaching elementary school poetry is nothing to be proud of.

He further stated:

“There is no group of society existing in English Haiku that enforces, at all, the 5/7/5 syllable count in English.”

British Haikuhttp://britishhaikusociety.org.uk/
Haiku Canadahttp://haikucanada.org/
Australian Haiku Societyhttps://australianhaikusociety.org/

It’s true that most serious poets use the 11 syllable Haiku or Senryu form of 3/5/3. Some poets don’t write their poetry into three distinct lines – they use one. All of this has to do with the translation of Japanese into English. In fact, Basho’s poetry was based on breaths, not syllables.

It was my full intent to sponsor a poetry challenge that would excite writers into trying syllabic poetry. I wanted participants to have fun and play with words and meanings. I used the traditional Haiku & Senryu format as it is much easier to write. I had no idea that I would offend “real” poets.

I’ve read more Haiku and Senryu in the traditional format than I have in the more rigid form of 3/5/3. Most of the poetry books I own contain Haiku and Senryu written in the traditional format. Now, to be fair, that doesn’t make it right or wrong.

Many contests will ask you to write your Haiku and Senryu in this more abbreviated format. So, I will add the modern 3/5/3, and the modern 2/3/2 structure to the Haiku and Senryu portions of the challenge for anyone who wishes to use that form. I’ve updated the Poetry Challenge Cheatsheet too. After all, the challenge was created for us to have fun and to help poets practice and write poetry in preparation to enter contests or to submit our poetry for publication in other periodicals.

FORMS IN ENGLISH HAIKU – KEIKO IMAOKA on ahapoetry.com states:

Today, many bilingual poets and translators in the mainstream North American haiku scene agree that something in the vicinity of 11 English syllables is a suitable approximation of 17 Japanese syllables, in order to convey about the same amount of information as well as the brevity and the fragmented quality found in Japanese haiku. As to the form, some American poets advocate writing in 3-5-3 syllables or 2-3-2 accented beats. While rigid structuring can be accomplished in 5-7-5 haiku with relative ease due to a greater degree of freedom provided by the extra syllables, such structuring in shorter haiku will have the effect of imposing much more stringent rules on English haiku than on Japanese haiku, thereby severely limiting its potential.


Bottom line… if you decide to enter a syllabic poetry contest, investigate their rules and procedures. NaHaiWritMo.com does advocate the 3/5/3 format and you can read about that here: Why “No 5-7-5”?

Onward and Upward, my poetry writing friends.

Colleen’s 2019 #Tanka Tuesday Recap: #Poet of the Week & Honorable Mention, No. 156, #PoetsChoice

The Countdown is on to the Winter Solstice! Are you ready?

Welcome to the Tanka Tuesday Poetry Recap featuring the Poet of the Week and the honorable mention poetry that spoke to me. If you would like to participate in this challenge, you can learn the rules in the menu item called Colleen’s Weekly Tanka Tuesday Guidelines.

I approve all comments and link-backs to my blog. If you are a regular visitor to my blog, your link shows up, even if I haven’t approved it. Don’t panic! I get to all comments when I can.

Congratulations, and many thanks to all the participants! Please visit the challenge post comments HERE, where you’ll find the links to everyone’s poetry along with many of the poems. Stop by and say hello! <3

I will publish the Poet of the Week and Honorable Mention Poets in the 2019 Poet of the Week Anthology, which everyone can grab as a FREE PDF in January 2020.

H. R. R. Gorman has kindly volunteered to update the Poet of the Week & Honorable Mention poetry from the weekly recap into the PDF Compilation that will be available around the middle of January 2020. If this works out, I will consider continuing the Recap and PDF for next year. I’ve received great feedback about the recap and how the comments have helped poets perfect their own poetry. I think this is a great way to share all the great poetry from the challenge.

Each week, I like to highlight a poet who I call the Poet of the Week who has shared an exceptional message or shown impassioned creativity through words or form. Poetry is all about perception. You may not feel the same way about my choice. That’s okay. Perception is different for all of us.

The Poet of the Week

This week, I’ve chosen Ken G. as the Poet of the Week for his triple Senryu Sequence below. I love how Ken explored the subject of his memories as a humorous, personal event. This poem resonates with us because we can relate to his experience.

Senryu poems do not explore human nature by looking outward at the natural world but makes the “human”, not the world around him, it’s subject.

The object of this form is to offer the image of a human in action, doing something relatable, familiar, ironic or even embarrassing. When writing Senryu, you could choose moments from your own life that have caused you, or others, to giggle.

Remember, Haiku and Senryu are written as personal snapshots in time. As the poet, you’re sharing your experience with the reader.

Haiku and Senryu have certain differences. The chart below will help you clarify:

“Rudderless,” #SenryuSequence

far from flawless,
my memories, homeless
in their wanderings

searching for details
in times no longer ageless,
leaving me helpless

formless, these thoughts
passing through my mind,
almost wordless

©2019 Ken Gierke.

Honorable Mention(s)

If you can learn to write good Haiku, you can write all of the other forms easily. This week, Traci Kenworth has earned an honorable mention for her Haiku.

In this seasonal activity, Haiku, Traci shares her experience in the first line, with “starry holiday.” In the second line, she plays off that mental image of a starry holiday by describing “sliced fruit and cinnamon sticks.” The third line is her pivot, where she shares something unexpected, “tossed on the table.”

That last line is your pivot. It should be an opposite thought or something totally unexpected. Traci’s Haiku does that.

Here’s another test for a great Haiku. Form a sentence with the first and second lines of the poem: Starry holiday, sliced fruit and cinnamon sticks.

Then, take the middle part of the poem and form a sentence with the middle and the last line: Sliced fruit and cinnamon sticks tossed on the table.

See how there are two thoughts – related but different in this poem? That’s how you can tell your words are magical!

“Stars & Fruit,” #Haiku

starry holiday
sliced fruit and cinnamon sticks
tossed on the table

©2019 Traci Kenworth

Remember, books make for good retail therapy! Help support our poets. Please check out the Tanka Tuesday Book Store HERE.

Are you a regular participant of this challenge with a poetry book for sale? Let me know in the comments. I’ll add your book to the list!

Colleen’s 2019 #Tanka Tuesday #Poetry Challenge Recap No. 135, #SynonymsOnly

Welcome to the Tanka Tuesday Poetry Recap featuring the work of poets from around the globe. If you would like to participate in this challenge, you can learn the rules in the menu item called Colleen’s Weekly Tanka Tuesday Guidelines.

POETRY NEWS: Poetry Contests & Journal Submissions

Currently, UHTS is accepting poetry for the Autumn Issue of the Cattails Journal. Submissions for Autumn/ October issue open 1st July (midnight) GMT and close 15th August (midnight) GMT. 
Read the submission requirements: HERE. You can view the journal HERE. READ the UHTS poetry definitions that are acceptable for submission HERE.

UHTS also is sponsoring the “Fleeting Words” Tanka Competition. Submission Period and Deadline: May 1-August 15 of each year. There is a 10 poem limit on the number of submissions. If more than 10 poems are submitted, only the first 10 poems will be entered. Entries must be the original work of the author, be previously unpublished and not under consideration elsewhere for the entire time period it takes to complete the judging. Click HERE for submission requirements and read carefully to find the current competition.

We had great success using the new email submission for your poetry. (tankatuesdaypoetry@gmail.com). Remember, please send me your name, title of your poem, #type of poem, and the link to your blog post where the poem was published.

Please don’t just email me your link. When you do that, I have to go to your blog, copy your poem, cut and paste that with no formatting into a Word document and then, cut and paste the poem into my new post. The WordPress platform has changed. It’s becoming more and more difficult for me to copy posts from those of you who use the OLD editor. This recap takes me about 3 hours to compile into a post. I need your help in order for me to continue publishing a RECAP featuring your poem with a link back to your blog. Thanks. <3

The Poet of the Week will be published in the 2019 Poet of the Week Anthology, which everyone will be able to grab as a FREE PDF in January 2020.

Each week, I like to highlight a poet who I call the Poet of the Week, who has shared an exceptional message, or shown impassioned creativity through words or form. Poetry is all about perception, so don’t be shocked if you don’t feel the same way about a poem that I do.

As an added accolade, I will also reblog your post on my blog to give the Poet of the Week maximum exposure. <3

This week, I’ve chosen Annette Rochelle Aben, as the Poet of the Week. Her poem, an Etheree called, “Is it Really Love?” really did justice to the prompt words by invoking emotions. When you read Annette’s words, you feel her pain. That empathy connects her to her readers. Find her poem below.

This weeks honorable mention goes to Kerfe Roig and her Haiga, “Derby King.” The drawing is done by Kerfe, and in true Haiga fashion compliments the poem while the Senryu portion stands alone.

Why did I call her a poem a Senryu? If your poem has irony present (usually in the third line) it’s usually a Senryu.

Irony is a figure of speech in which words are used in such a way that their intended meaning is different from the actual meaning of the words. It may also be a situation that ends up in quite a different way than what is generally anticipated. In simple words, it is a difference between appearance and reality.



“Ocean,” #Haiku, by Donna Matthews

charming melody
toes curling in the hot sand
wretched thoughts washed off


“The Girl,” #Haiku Stanzas ending with a #Tanka, by Violet Lentz

The girl’s a live wire
from woven hair to mani’d
tips- she’s electric.

The girl’s on fire
magazine covers smokin’
Youtube links burn bright

The girl’s hot copy
glam pix or sordid romance
media laps it up

The girl is burnin’
flaming tongues set her ablaze
‘spec’ fuels the fire

The girl’s a train wreck.
Her every move on trial.
Bruised and battered, once
shooting star- snuffed out. John Q
Public? Drunk on her demise.


“Personal Preference,” #Tanka, by Miriam Hurdle

Pleasing view to me

Unsightly scene to others

Taste buds are distinct

No worries of sweet or sour

In time, you’ll find lovers


“Golden Willow Tree,” Double #Tanka, by Marjorie (MJ) Mallon

So charming you are

Sweet golden willow bending

Longing for water

Not I, deep depths frighten me

I long to touch you… alas…


Pleasing temptation

Your branches beckon nearer

No danger greater

I dangle closer

To make an uncomely splash


“Fairy Tales,” #Etheree, by Sally Cronin

grace the plot
of old fables
and of fairy tales,
gaining princes and crowns.
How unfair of the writers,
to deny those more unsightly,
all the riches within the pages
and the right to happy ever after.


“An Unlikely Pair,” #Shadorma, by Sa Huynh

Green box powers home
Next to it
Flower accompanies box
Charming passersby 


“Pretty Ugly,” #Tanka, by Ritu Bhathal

A beautiful face

Can mask a grotesque nature

Be wary of looks

You think you’re seeing one thing

Truth is something different


“loss seems forever,” #Tanka, by Ken Gierke

loss seems forever

in darkness beyond desire

new needs awaken

one heart touches another

the beauty of new love born


“The Owl,” #Crapsey #Cinquain Sequence, by Merril D. Smith

She glides,

elegant, her

wings whisper feathered hopes,

listen. . . she hoots a warning call,


fierce claws

grasping rabbit–

stunning, horrid nature!

Predator and prey in moonlit

death dance.


“Anita’s Etheree,” #Etheree, by Anita Dawes


Have you

Carried in,

It’s hideous.”

I like my green bowl

To me it’s beautiful

It had to have pride of place

Placing a faux candle inside

My family teased, saying “it won’t help.”

My bowl became a precious glowing shell…


“A Child’s Dream, #Senryu, by Dorinda Duclos

Hideous faces

In the darkness of the night 

Taint angelic dreams


“Deception,” Double #Tanka, by D.G. Kaye (aka Debby Gies)

Disguised as promise

A chaotic clusterfuck

Beautifully concealed

Reality distorted

Hostility reigns rampant.


Suppressing the truth

Predator assumes applause

Undigested lies

Pandora’s present unleashed

Smorgasbord of hate revealed


“A Deceptive One,” #Senryu, by The Dark Netizen

She Is Deceptive.
Behind Her Beautiful Face,
Hides A Grisly Soul…


“Derby King,” #Haiga, by Kerfe Roig

“Derby King,” #Haiga, by Kerfe Roig


“Skin Deep,” #Etheree, by Willow Willers



So comely

As too beguile

The eye and  the heart

Of every man she meets

Truth will out there is no doubt

Her loveliness is but skin deep

The evil inside would  make  you weep

Her goodliness  was  no more  than skin deep


Annette Rochelle Aben, Poet of the Week 7/9 – 7/14, 2019

“Is it Really Love?” #Etheree, by Annette Rochelle Aben



Always said

Fancy dresses

And the handsome guys

Were for the other girls

You know, the ATTRACTIVE ones

Not the HIDEOUSLY fat ones

These words just drove them further apart

After all, food didn’t care about looks


“Lost Gardens,” #Tanka, by Bobby Fairfield


gardens, both medicinal

and quite appealing

some though find, regular lines

can prove an unsightly bore.


“Burning in Plain Sight,” #Haiku, by Tina Stewart Brakebill 

as we spin a tale   

the beauty of youth turns foul

burning in plain sight


“Movement,” #Butterfly #Cinquain, by Jane Dougherty


the trees’ wind dance

swallows’ wild dart and swoop

even the lane’s pale sinuous


as it meanders in dappled

shade away from the town’s

unsightly squat

grey sprawl.


“Inflame,” #Butterfly #Cinquain, by Linda Lee Lyberg

His eyes 
are beautiful 
and ominous, a man 
Having seduced a tender heart 
gets burned 
When he breaks her lovely spirit 
Hot pain inflames, and feeds 
the fury in 
her eyes.


“Cycle,” #Haiku, by H. R. R. Gorman

Foul, astringent stench
Of grass processed into dung –
Price of lovely blooms.


“Pride & Envy,” Double #Tanka, by Vashti Quiroz-Vega

As a butterfly

you wore your wings high with pride

looking down on worms

forgetting what you once were

a crawling caterpillar


No plain butterflies

just lovely flowers in flight

while the moth looks on

Counting the days to their end

Death comes in a week or two


“Fake News,” #Tanka, by Colleen Chesebro

Fair-weather thoughts drift
ebbing and flowing like dreams
blinded to the truth
sailing through a narrow mind
grim dogma – a foul weapon


Are you looking for more writing/poetry/photography challenges?

H.R.R. Gorman has created a comprehensive list on his blog. Click HERE to learn more. <3

For tomorrow’s challenge, I’ve got a surprise for you! Check out the new monthly schedule below:

please share this recap & reblog! <3

How to Write a Haiku Poem

It’s always good to go back to the basics and refresh our memories about the various syllabic poetry forms we use in our weekly Tanka Tuesday Poetry Challenge. Today, let’s review how to write a Haiku. Here are a few links for you to read. Enjoy! ~Colleen~


Haiku is an ancient form of poetry invented in Japan. People focus on the syllable counts, but that’s just the basics. Here’s how to write a haiku poem.

Source: How to Write a Haiku Poem

Source: How to Write a Haiku in 4 Easy Steps

Source: How to Write a Haiku Poem: Haiku Examples and Tips

My Magical Dreams Are Coming True!

Remember me? I can’t believe the time has finally come. I’ve done it! Today, I’ve sent The Heart Stone Chronicles – The Swamp Fairy to my beta readers. I can barely breathe! I fluctuate between panic and elation… all at the same time.

Then, after missing RonovanWrites #Weekly #Haiku #Poetry Prompt #Challenge for the last few weeks, I am here to enjoy #114. The words this week are “Magic & Stars,” and must have been selected especially for me. Thank you, Ronovan!!! <3

I can’t help but question if the fairy nymphs aren’t looking down at me this moment, happy their stories will soon be told.

Happy weekend everyone! I’m going to take a few days off. I’ll see you on Monday! <3

Word Written in Verse – A Haiku

The Ronovan Writes #Weekly #Haiku #Poetry Prompt #Challenge #111 words for this week are: “Rhyme & Reason.”

I used verse for the word rhyme and purpose for the word reason.

Thanks for stopping by. See you next week,


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