book inc intern Emma Moriarty shares the poetry rules that shaped her writing voice and stuck with her long after class ended

During the spring semester of my freshman year, I showed up to my Introduction to Poetry 001 class ten minutes early every day, a flowered notebook in the crook of my elbow. I was one of those geeks who loved learning about poetry. Our professor was very traditional and adhered to strict ideas about how poetry should be. Rules, if you will. Over the few years I worked with him, his edits improved my poetry and made me love writing poetry more.

Below, I list some rules he taught me that I will stick with for the rest of my writing career. While reading my classmates’ work, I would find myself citing his rules in my head, as he had done with me, posing questions when we delved into each piece of poetry I brought to my meetings.

Rule 1: What Work Is This Doing?

When I think of Professor W, I think about sitting in his office, in a chair near the door, balancing my laptop on my knees while we discussed my work. “What work is this doing for the poem?” was his favorite question to ask while weeding through my piece line by line.

Although imagery and extra detail are very important in poetry, Professor W taught me that they should be deliberately added with the main message or idea in mind. There have been many lines of my poetry that I adored, but did not need in my poem. I keep these lines in a “lost darlings” document. (For more on that, read my book inc Journal “Kill Your Darlings.” Lots of extra fluff will take away from your poem, and I definitely still struggle with this. Who doesn’t love fluff?

If you ask yourself Professor W’s question when reviewing your poetry, you will find that more than you think can be taken out of your lines to hone in on the true meaning of your poem.

Rule 2: Start and End Each Line Intentionally

Professor W often stressed that the words at the beginning and end of a line are among the most important decisions while writing a poem. In the time that it takes a reader’s eyes to move from line 1 to 2, the last word will linger in their mind for a millisecond longer, which is long enough to make a difference. Therefore, the last word of a line should be a meaningful word that contributes to the overall message of the poem. This also means that the start of each line should be punchy and intentional since it is the first word after that short pause, and it is up to the writer to take advantage of it. (One time, I ended a line with the word ‘the’ because of a certain rhythm I was trying to achieve, and Professor W had to excuse himself for a minute.)

Rule 3: Don’t Rhyme for the Sake of Rhyming

Rhyming has to be intentional, and if you need to go digging for a word that does not come naturally, it may sacrifice the entire meaning of the poem. When I first started writing poetry, I would write down rhyming words before I even knew what a poem was about. However, Professor W taught me that the words are supposed to support the poem, not the other way around.

Rule 4: Provide Enough Context

It’s no fun reading a poem over and over again and still not knowing what it means. It’s also true that some ambiguity and mystery in poetry can be good—poems that make the reader think hard are my favorite. However, you have to give your reader enough context to understand the framework for your idea. If there are too many lingering questions, the reader won’t connect with the piece. Remember that just because the reader is reading your words, that doesn’t mean they can read your mind, and they won’t immediately know where or when something is taking place.

With these rules and Professor W’s advice, I was able to publish my poetry in Lehigh’s magazine across two editions and win multiple poetry awards.

Class dismissed–go write!

Come Write with PWN This Spring

April is National Poetry Month, and just like Professor W helped me find my voice, PWN Writers has a few offerings this spring to help you find yours.

On Tuesday, April 14, join instructor Eileen Toomey for Poetry, Prose, or Something In-Between (7–8:30 p.m. ET / 4–5:30 p.m. PT, virtual) — a 90-minute workshop exploring hybrid forms through close reading and hands-on writing exercises. It’s $25 and open to all levels.

Starting Tuesday, April 28, join instructor Jenny Morelli for Poetry Intensive (7–9 p.m. ET, virtual) — a six-week feedback-based class that pairs close study of a different poet and poetic style each week with hands-on writing and peer critique. It’s $250–$275 for writers committed to strengthening their craft.

On Sunday, April 19, head to Kula Urban Farm in Asbury Park for Poetry & Plants (3–4:30 p.m., in-person) — a free community writing circle led by Meredith Z. Avakian, set among the greenhouse and part of the Asbury Park Poetry Crawl. No writing experience necessary, just bring a journal.

Starting Monday, May 4, join instructor Jaz for Poetry – Spring II ’26 (7–9 p.m. ET, virtual) — a six-week class exploring the fundamental elements of poetry through the works of celebrated poets, weekly writing prompts, and feedback sessions. It’s $250–$275 and open to all levels, from seasoned writers to complete beginners.

Then on Wednesday, May 13, cap off the season with Friends & Features: Celebrate the Poets (7–8:45 p.m. ET / 4–5:45 p.m. PT, virtual) — a literary salon featuring celebrated poet Chen Chen alongside PWN community voices, moderated by Court Harler.

Whether you’re brand new to poetry or just looking to sharpen what you already know, come write with us.