internal rhymes

Annotating Effectively

Not to brag, but if there is anything I have mastered so far in my high school career, it is the art of annotating poetry and prose for close text analysis. This guide will focus primarily on close-text analysis, but will also touch on a full annotation of a larger piece. Basically, I will be giving you a few different techniques given to me by my English teacher, as well as a few that I have learned on my own! Enjoy!

{ Some of the names are weird because my english teacher is a hilarious person! }


  • What: Basically coondog is all about “sniffing out” motifs and symbols. So for example, when reading a series of poems, if you realize there is a lot of references to the ocean, go through from the beginning with a highlighter and highlight every single reference to the ocean you can find – whether it literally mentions something like “waves” or “fish”, or is far more subtle.
  • Why: Using coondog is extremely helpful, especially as writing about a motif is a great starting point for an essay or paragraph. If you are in the IB program, motifs are awesome for anything from an English extended essay to your unseen oral commentary. Remember, a motif can vary! Some examples of some I have seen commonly are: water, corporeal, animals, time of day, cosmic, textile, etc.
  • My English Teacher came up with the name (I think it comes from one of her crazy life stories haha)


  • Who: Who are the characters? What is the point of view?
  • What: What happened in the piece (paraphrase)?
  • Where: What is the setting? How does the setting effect the piece?
  • Why: Why did the author do _______?
  • When: When was the piece written?
  • How: How does the author create the feeling of ________?

Read Aloud Silently

  • What: This is basically just making sure you hear the piece in your head as you read it. This is extremely important while reading poetry.
  • Why: Reading aloud silently will you help you catch so many things you wouldn’t by just skimming through it. Things like internal rhyme, rhythm, onomatopoeia, tone, consonance/assonance, cacophony/euphony, etc. will all become more obvious. This also ensures that you don’t skim past a line or anything.
  • Even if you hate every single other tip I have given you, just use this one and you will benefit incredibly.


  • Title: Read the title before reading the piece. Is it an allusion? What does it connote? Does it reveal anything about the novel?
  • Irony: Look for irony and humour in the piece. Both are excellent to write about, so keep your brain peeled!
  • Paraphrase: After you finish reading everything, think about what literally happened in the piece. Do this before finding the ‘sub-text’.
  • Connotation: Time for sub-text! What is the piece saying indirectly? As in what is it trying to reveal other than the literal happenings of the work? Ladies and Gentlemen, it is time to read underneath the lines!
  • Atmosphere: Highlight anything that reveals the tone/atmosphere of the piece. Highlight any hints you find that make you think the story is shifting in one way or another.
  • Shift: Find any narrative shifts. This could be anything from a shift in tone, to a shift in point of view, to a shift in the characters feelings.
  • Title: Now that you have examined the piece, look back at the title and think about it’s relevance. Were you right when you looked at it the first time? Or did it reveal a hint about the ending?
  • Theme: Now it’s time to put it all together! What is underneath the piece? What is the author trying to convey? Remember the theme will often be something profound and important!


  • Beginning & End
  • Never skip your beginning and ending as I personally feel as if they are perhaps the most revealing sections. The beginning will set the tone and mood for the poem, while the end will ultimately reveal the theme. When examining the beginning and end, one way to comprehend what happened in the piece is to map out where it started, and where it finished, and fill out (with quotes) how the narrator/characters got there. This is most helpful with poetry or prose excerpts as novels would have wayyyyy to much going on in the middle.


  • Poetry has feelings. Yup. That’s a thing.
  • So, remember, atmosphere and tone are incredibly important. Write down how the poem makes you feel, how the poet might have felt when they were writing it, how the characters/speaker feels about the situation – any feeling word that comes to mind will be significant when you talk about the atmosphere of the overall poem! Plus it will give you a more thorough understanding of the premise :)

Handy Dandy Things to Watch For!

  • Bored of talking about Simile’s and Alliteration? Here are some other things (often a little more rare) that are almost always relevant when annotating poetry (and a lot of prose as well!)
  • Allusion: I promise you, there is almost always allusion in poetry. Biblical will probably be the most common allusion you see (in Western literature), and it is extremely easy and effective to talk about it. Allusion to mythology is also common, and is often used in order to show the universality (through space and time) of a specific theme.
  • Elevated/Archaic Language: Always keep an eye out for this, it is extremely
  • Parallel Structure/Anaphora: You can never go wrong with parallel structure and anaphora as they will exist often! It doesn’t have to be a perfect parallel structure, it always elevates and intensifies a piece of poetry or prose.
  • Structure: In poetry especially, sentence/stanza structure is extremely significant. Look at the length of each line? Is it short-long-short-long line structure for the first few stanzas and then all of a sudden just a rhyming couplet of two short lines? Mention this! Talk about why this might be. Also keep an eye out for the actual structure of the stanzas on the page! This is not on accident, poets often put thought into the way it will look printed out. Plus, if you are unsure, you can always say “perhaps” to keep yourself save. Remember rhythm, syntax, enjambment, and general structure are your friend!

My Method (close-text, small section) ~ This is how I annotate for unseen timed commentary’s (but it is effective for all annotation!)

  1. Read aloud silently.
  2. Write down the general tone/feeling I get from the piece.
  3. Read second time focusing on a possible theme.
  4. Underline any poignant/interesting/beautiful imagery (as guess what, this is usually the best stuff to talk about in your paper!)
  5. Write down a tentative theme and/or thesis (just off of what you get out of the poem the first time around – don’t worry, this isn’t permanent!)
  6. Why did you pick that thesis/that theme to work with? Think of 2+ points that support your thesis.
  7. Highlight any quotes that support these points.
  8. And there you go, a body for your essay is completed.
  9. Annotate with more specific notes towards each highlighted section. This is when you think of literary techniques used like simile, alliteration, onomatopoeia, etc.

For a Whole Book / Set of Poems:

  1. As you read the book, highlight any interesting/potentially useful quote.
  2. Let’s say you finish reading for the day after an hour. At that point, open a word document (or notebook), and record every quote you have found in different categories (include page numbers!!!!!).
  3. Categories could be things like: John Doe’s Character Exposition, Water Motif, Setting & Context, etc. etc.
  4. There are a few perks to doing this. First of all, you have all your quotes sorted, chronologically. This means that when looking at something like character development, you have a list of interesting quotes in the order of them happening thus basically creating a skeleton of their character arc! Second of all, having quotes in a large word document makes it far easier to find them! You can use command-F (if on a Mac), and search for a specific word/quote. This way, you don’t find yourself wasting time tracking down one tiny detail for an essay. Another perk is that by recording a few chapters wort of quotes at a time, you won’t be overwhelmed by hundreds of highlight marks throughout your book after you have finished reading. This basically ensures that once you have finished reading, all you have to do is sit down and write! No more spending hours searching for that one perfect quote in a 400 page novel!
There isn’t much more I can possibly take
I’m a fraying rope that’s about to break
I’m tired of fighting; I’m tired of being strong
Happiness is short-lived and the days feel long
When my opponent is me – there’s no way to win
I’m stuck fighting this battle I don’t want to be in
I’m at war with myself and it all feels so wrong
Mind, Body, Spirit… why can’t we just get along?
—  Ranata Suzuki  |  Mind, Body, Spirit

“Infinite” is Eminem’s best song. As far as I’m concerned, there’s isn’t another that even comes close. It’s a masterpiece of lyricism with rhyme schemes that leave your aural senses overwhelmed. Rhymes spilling into the next stanza that continue internally as new rhymes emerge in the middle of the new line. This kind of complex language extending throughout the entire song is mind-blowing.

This title track comes from Eminem’s solo debut of the same name. The common criticism of this era of Eminem’s work is that he hadn’t quite found his own sound/voice yet – That it’s just derivative of the works of Nas and AZ, two of the most influential MCs of the era. While this is largely indisputable, it doesn’t change the fact that it’s still extraordinarily good writing.

I always find myself in awe of the line at the end of the second verse “It eases you mentally, gently, sentimentally, instrumentally with entity, dementedly meant to be infinite.” No matter how many times I try, I can’t seem to wrap my brain around the scansion of these words. It’s so impressive.

If Eminem had continued down this road, I would probably like him a whole lot more, but there’s no way he would’ve become as popular as he became. Part of what made him stand out once he became popular was that he was unique in the hip hop world. While the Infinite album isn’t unique, it’s most definitely my favorite.

anonymous asked:

Do you have any tips for writing fansongs?

I’ve gotten this ask a few times this past month and I haven’t answered it yet, and I’m sorry about that :( I was trying to think of something new I haven’t already said. For me writing fansongs is the same as writing any song so this is just general song advice.

I have a songwriting tag where I’ve said a few things in the past…as for new advice that’s not in there, Alliteration and Internal rhyme is something that really adds to a song so i think I’ll talk about those…

Alliteration is when you group words with similar sounds in them together for emphasis “peaceful place, last love, hard heart” etc.

And internal rhyme is trying to rhyme a lot of things at different parts of the song and not just one word at the end of each line. The more words rhyme in your song in organic places the better it will flow imo. 

For example I’ve bolded all the grouped sounds, rhymes and quasi-rhymes I intentionally included in this verse of a song I wrote-

“A feral beast, more thorn than paw
claws the rooster from his nest, for lest he dare to crow
I’ll aim again to make God blind
lay my pelt upon your shrine, as the sun sets one last time
to the cry of the wolf and the song of the sparrow

hope that helps :)


Pharoahe Monch- Simon Says

from Internal Affairs (1999)

follow for more 90s music


For today’s special Digital #Ham4Ham show, Ron Chernow, author of Alexander Hamilton, sings the opening number of the show to congratulate Lin-Manuel on winning the Pulitzer Prize! #Ham4Ron

“Chernow said in an email interview that he was initially “intrigued, if a little skeptical” about the idea of telling Hamilton’s story through hip-hop and R&B. “Lin promised to educate me, and boy, did he succeed,” he said. “To give but one example, he pointed out that hip-hop contains lots of internal rhyme, and that you can pack masses of information into its dense lyrics.” The show’s opening song, less than five minutes long, “accurately distills” the first 40 pages of the book, according to Chernow.” [x]

i just want everyone to love this line of hamilton as much as i do: 

like the internal rhyme, the assonance and dissonance???? the fact that almost every single word is involved in this ninefold masterpiece: “complicit in” “kissin’ it” “isn’t gon’” “listen to” “disciplined” “dissidents” “this is the” “difference” “this kid is” 

every time i hear this line i want to cry with the sheer beauty of it, if you can hear this line and not be impressed to tears you must have a rock for a heart idk what to tell you

The next time you want my hands in your hair, just remember that I won’t be there.

The next time your lips crave to be kissed, remember the chance that you missed.

The next time your body aches to be held, don’t forget that you put me through hell.

The next time you’re hurt and crying out for me, I’ll stand back and watch you bleed.

—  s.l.
This exchange kills me, really.

“…and the fucking ocean metaphors,” Bull admits, at long last, snorting. “What the fuck is with the goddamn ocean metaphors?”

Shokrakar stares at him, before she cracks up laughing.

“It’s a genuine complaint!” Bull snaps, valiantly ignoring the flush on his face. “A little variety, maybe! To get the point across?”

Shokrakar grabs his face and softly bumps her forehead to his.

“Because we come from an island, you dimwit,” she says, tone fond despite her words and eyes dancing brightly, “the fuck would you expect him to write poetry about, but the big damn thing he saw every single day of his life?”

Bull blinks.

“Oh,” he says, blinking again. “Oh, that makes sense.”

Shokrakar headbutts him again, harder this time.

“Next you’re gonna tell me you don’t like the internal rhyme scheme of it.”

He grins.


I recall you as apple

sin. To unpeel you
from you is to be stung sudden

by sweetness. I’ve longed
so long for you, unrhymed, I live

in two time zones. The before
is now our after, long past

our laughter, the tower of tears.
We’ve been so long together

it was like we were apart. Now
it’s time to wend and wind back

to the field, the tent and want
of the wind. Let me lie down

in you, unsplit, as you
devour my mouth.

Philip Metres, from “Entre Naranjos” The Book of Scented Things: 100 Contemporary Poems about Perfume, ed. Jehanne Dubrow and Lindsay Lusby (Literary House Press, 2014)

if ur trying to get ur friends into hamilton here are some good reasons to convince them:

  • it’s about treasury secretary alexander hamilton but get this………he was actually really badass?????
  • non-white actors playing white ass founding fathers
  • the coolest dancing on broadway since newsies closed
  • the best song for a female trio since heathers closed
  • the slickest internal rhymes EVER (”i’m the oldest and the wittiest and the gossip in new york city is insidious”)
  • the saddest song in broadway history is in this musical
  • lyrics such as: “turn around bend over i’ll show you where my shoe fits” “sit down john you fat motherBLEEEEEEEP” and other choice selections
  • cabinet rap battles CABINET RAP BATTLES
  • just get them to listen to helpless + satisfied it will do the trick
  • john laurens
  • beyonce watched it one time
  • just do it

Songwriters are not poets. Or songs are not poems, I should say. In fact, songs are often bad poems. Take the music away and what you’re left with is often an awkward piece of creative writing full of lumpy syllables, cheesy rhymes, exhausted cliches and mixed metaphors. But of all those writing lyrics today, Turner is among the most poetic. His use of internal rhyme exists to be admired and envied. And where some songwriters are never able to get beyond the drama of their own lives and diaries, Turner is more than capable of sidestepping his own experience and producing telling little mini-dramas populated by keenly observed characters. The song Only Ones Who Know is typical of this second-person approach, a wistful lament on lost chances and wrong choices. For someone so young Turner can be surprisingly cheerless when it comes to interpersonal relationships. In his world, every romance seems destined to become an icing-sugar bride and groom found in the bottom of the dishwasher.

— Simon Armitage


ok so i saw hamilton almost a month ago (9/29/16) and it’s taken me this long to formulate my thoughts because i just have so much to say and frankly i couldn’t emotionally process it 

this isn’t a review but i did talk a lot about the changes from the OBC (i’ve never seen it in NYC so i’m going off of what i know from the OBCR and released clips), also i saw literally the 3rd time the chicago cast performed for an audience, technically before opening night (previews), so keep that it mind

it’s. Really long so i organized everything by song and bolded the really important stuff / what i think you’ll find most interesting. i may try and cull it down a bit more to do a more coherent review but for now you can just browse through my ramblings

(under the cut because, guys, it’s long.)

Keep reading

some facts abt derek nurse, writing major
  • (from ur friendly neighborhood Real Life writing major)
  • the creative writing department is one of the gayer departments at a liberal arts school, esp in terms of variety. here are some friends nursey has made in workshop classes
    • huge nerd, essentially married to her girlfriend/cosplay partner
    • looks like girl bassist of a cigarette-smoking grunge rock band and drops acid with/pines after an older female friend
    • the most politically active southern boy to ever draw a stunning comic about intersectionality and coming out
    • girl with the Asexual Bangs who writes scifi concepts that leave u sittin back from ur desk like damn am i gonna be ok
    • very smol boy, likes surreal horror a lot, always has earbuds, looks sad till u realize he’s just snapchatting his bf under the table
    • snarky bisexual in a sorority t-shirt (pls Mary Sue me into ur fics)
    • i swear i know all of these people and i have so many more pls ask
  • nursey has absolutely had the inevitable debate about whether or not the young man shakespeare wrote half his sonnets about was his lover. (he definitely was.) one guy in the class, who had read chaucer in the original middle english, insisted shakespeare was straight
    • 90% of lit discussions are abt whether or not the author wants to bang their subject- man, woman, the concept of truth, the rolling fields of the english countryside, God Himself, nothing is off limits
  • all the writing teachers are cool except the token asshole. this is an older white guy who Loves hemingway or kerouac. when nursey ends up in his class he needs at least 1 hour to pace angrily afterward about the way the professor willfully misunderstood, then gutted his poetry
  • being a writing major is a constant rollercoaster of “am i any good? i’m terrible aren’t i. everyone’s better than me. no i’m pretty good. am i any good? should i jump ship for a more practical major right now?” and nursey has to fight very hard to show his poetry to anybody because what if he actually is terrible
    • he isn’t
  • most of the offered lit classes are on the same 4 crusty british and english guys, but nursey hunts down stuff like “Colonialism and Latin-American Boom Literature” and “Japanese-American Writers in the Context of World War 2″ which are taught by ppl with cool accents who have professional writer friends visit the class
  • there’s a lot of intimacy to reading someone’s work for a workshop class. u can absolutely fall in love over the scribbled comments at the edges of paragraphs and understanding looks shared when a classmate Just Doesn’t Get It
    • even if you’re, say, a computer sciences major who’s taking this as his 3-credit Arts requirement
  • if ur lucky, you’ll meet the writers who do readings at the school. when tracy k smith or nikky finney come to speak at samwell, nursey sits in the front row as they read and is too shy to introduce himself afterward.
    • he walks into his poetry class the next day and tracy k smith is in the corner talking to his professor. he nearly dead-ass faints when she joins in for their whole workshop and compliments the way internal rhyme and enjambment make his poem feel breathless
    • like he actually ascends
    • Writing Hoe Derek Nurse

Hannibal jokes that never get old

  • Will steals dogs
  • It needs more people
  • Hanni is lonely because he ate all his friends
  • Graham cracker
  • Will has a nice booty
  • Hannibal, you piece of shit
  • Cannibal noises and internal screaming
  • It rhymes
  • Everything is people
  • Pineapple Mason
  • Jack is oblivious to anything implicating Hannibal as the ripper