Muse Guide

Poet's corner entry; Analysing Poetry the easy way

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<h3>
Learn how to study/analyse poems and be a better poet</h3>
» 
 
Poetry is the dramatisation of experience in metrical language. 
 
To study or analyse poetry, one must consider many elements. A good way to start is by reading the poem silently. Then read the poem a second (third, fourth) time aloud. 
 
Reading the poem aloud makes its meaning clearer and you will hear the various poetic sound devices such as alliteration, rhyme, rhythm, etc. 
Then try writing down a brief summary to make sure that you are understanding the poem. 
 
Remember to read sentence by sentence not line by line. 
 
Questions To Answer Before Writing » 
 
1. Who is speaking? 
2. To whom? 
3. About? 
4. Tone? 
5. Examples of abstract imagery? 
6. Examples of concrete imagery? 
7. Examples of denotative language? 
8. Examples of the 5 figurative devices? 
9. Examples of rhetorical devices? 
10. End rhyme scheme? 
11. Alliteration? 
12. Assonance? 
13. Consonance? 
14. Caesura? 
15. Enjambment? 
16. Theme? 
17. Rhythm / Meter? 
18. Syntax? 
 
Writing Your Paper » 
The actual writing of the paper is probably the easiest task because you have already identified everything that needs to be covered. 
You may wish to cover all the important items in your own order, however, the order listed above does work well. 
Most likely you will not be able to simply write a few lines for each device, rather you must group these devices together. A proper order of paragraphs may flow like this: 
 
» I. Dramatic Situation 
A. Who is speaking? 
B. To whom is that speaker speaking? 
C. What is the situation? 
D. What is the speaker's tone? 
 
» II. Imagery 
 
» III. Theme 
 
» IV. Diction (word choice) 
A. Connotation (suggested meaning of words) 
B. Denotation (dictionary definition) 
C. Abstract (can only be understood intellectually) 
D. Concrete (words describing physical objects) 
E. Kinds of language» 
#1. Figurative 
a. Metaphor (implied comparisons) 
b. Simile (comparison using 'like' or 'as') 
c. Personification(giving human characteristics to an inanimate object) 
d. Metonymy (the use of an attribute or quality of an object to represent the object itself) 
e. Synecdoche (substitutes a significant part of something for the thing itself) 
#2. Rhetorical 
a. Irony (opposite of what is meant) 
b. Hyperbole (exaggeration) 
c. Allusion (reference to something) 
d. Pun (play on words) 
e. Paradox (contradictory) 
f. Oxymoron (self contradictory term) 
g. Litotes (form of understatement) 
V. Syntax (sentence structure) 
A. Length 
B. Transposed elements 
C. "Unusual" sentences 
 
» VI. Conclusion 
Remember, when you are writing this paper you should use direct quotes wherever you can, you should vary your sentence structure, and all rules of grammar still apply. 
 
Source » <a href="http://berylarmy.blogspot.co.uk/2013/09/tutorial-1-analysing-poetry-easy-way.html">Beryl Army Writers</a></div>

Poet's corner entry; Analysing Poetry the easy way

Learn how to study/analyse poems and be a better poet » Poetry is the dramatisation of experience in metrical language. To study o...

Writers' tutorial entry; how to hook your readers from first page

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In your novel, the inciting incident is the first 
sign of trouble for your protagonist: it’s the 
catalyst, the chemical reaction, that sets the 
plot into motion. But the inciting incident isn’t 
only important for your main character. 
Understanding how to harness it is also crucial 
to hooking your reader from the very first page 
and immediately investing them in the 
experiences, emotions, and personal struggles 
of the character. 
In this excerpt from Hooked: Write Fiction That 
Grabs Readers at Page One and Never Lets 
Them Go by Les Edgerton, you’ll discover that 
the inciting incident can be used as a trigger to 
focus the reader on the character’s journey and 
retain his or her interest throughout the rest of 
the novel. 
The Inciting Incident as a Trigger 
The inciting incident is the crucial event—the 
trouble—that sets the whole story in motion. It 
triggers the initial surface problem and starts to 
slowly expose the protagonist’s story-worthy 
problem. Now, the protagonist won’t fully 
realize the extent of his story-worthy problem 
in the opening scene, so the initial surface 
problem has to be so compelling that it forces 
him to take immediate action. The 
protagonist’s understanding of his story- 
worthy problem, then, will grow clearer to him 
as a direct result of what he goes through in his 
journey to resolve it. 
Also keep in mind that each of the 
protagonist’s attempts to resolve the initial and 
subsequent surface problems must end in 
failure. There can be partial victories, but once 
an action ends in success, the story is 
effectively over. Success, in this case, means 
that all the problems are resolved. That cannot 
happen until the final scene of the story. 
So, if we were to broadly outline the shape of a 
publishable story—the inciting incident and all 
its intertwined surface and story-worthy 
problems—it would look something like this: 
The inciting incident creates the character’s 
initial surface problem and introduces the first 
inklings of the story-worthy problem. 
The protagonist takes steps to resolve the 
initial surface problem. 
The outcome of the major action the 
protagonist takes to resolve the initial surface 
problem is revealed, triggering a new surface 
problem. The scope of the protagonist’s story- 
worthy problem continues to unfold. 
The outcome of the major action the 
protagonist takes to resolve the additional 
surface problem is revealed, and yet another 
surface problem is created. The story-worthy 
problem continues to become more apparent to 
the protagonist, as well as to the reader. 
Another outcome is revealed, and more surface 
problems are created. The story-worthy 
problem continues to become clearer. 
All lingering surface problems are resolved, and 
the story-worthy problem is fully realized. The 
resolution of the story-worthy problem is 
represented by both a win and a loss for the 
protagonist. 
Notice that this isn’t a point-by-point outline of 
a plot. Also, it isn’t like an essay outline, in 
which you provide the nature of the actions to 
be taken (that “topic sentence” thing), but 
rather, the outcome of those actions. Further, 
take note of the fact that this kind of outline 
provides only for the major actions (of which 
there are usually three) the protagonist will 
take to resolve the problem. That leaves room 
for dozens (hundreds?) of other, smaller actions 
he can take to achieve his goal. This outline 
also leaves plenty of leeway for you, as the 
author, to choose what actions your 
protagonist will take, thus allowing you the 
artistic freedom to get the protagonist to the 
outcome any way the author wants to. In short, 
it provides a roadmap of highways for the 
narrative car, but it doesn’t include the scenic 
routes. 
An example of an inciting incident that kick- 
starts a novel is the one Scott Smith provided 
in his best-selling novel A Simple Plan , which 
was made into a film of the same name. 
The story begins with a bit of necessary setup, 
giving a scrap of family history. The backstory 
is that the two chief characters in the story— 
Hank, the first-person narrator/protagonist, 
and his brother/antagonist, Jacob—never have 
anything to do with each other except once a 
year, when they visit their parents’ graves 
together. The backstory also describes their 
parents’ death in a car accident that was really 
a joint suicide. In this case, the backstory is 
crucial because it gives a plausible reason for 
Hank and Jacob to be together when the 
inciting incident occurs. It also works because 
it shows the reader the brothers’ relationship to 
each other, and that relationship is Hank’s 
story-worthy problem. This is a Cain-and-Abel 
story, and therefore the brothers’ history is 
important to the reader’s understanding of 
what’s about to transpire. The entire history 
takes a little less than three pages to detail 
before the narrative enters the inciting incident 
scene. Jacob, accompanied by his dog, Mary 
Beth, and by their friend Lou, picks up Hank for 
their annual pilgrimage. During the trip to the 
gravesite, a fox runs across the icy road. Jacob 
has a slight accident, and Mary Beth takes off 
after the fox. The three men go after the dog 
and discover a plane downed in a field. In the 
plane, they discover a dead pilot and a bag 
filled with three million dollars, and they figure 
out it’s probably drug money. 
The initial surface problem begins with this 
discovery. Hank, the straight-arrow brother 
with the pregnant wife, college degree, and 
professional job, wants to do the right thing 
and turn in the money, but Jacob, who’s a 
ne’er-do-well, high school dropout alcoholic, 
and Lou talk him out of it. Against his better 
judgment, Hank accedes, and the brothers 
plunge into a spiral of darkness until they get 
to the place where Hank kills his brother. 
Finding the money and the decision that the 
discovery forces Hank to make is the inciting 
incident, and it is delivered via a scene so that 
the reader experiences what Hank does, at the 
same time he does it; the reader experiences 
the same dilemma he does, emotionally. 
Hank’s surface problem is how to please his 
brother by keeping the money, while assuaging 
his conscience at the same time. Plus, he 
needs to avoid discovery of their crime and 
keep from going to jail and ruining his life. His 
story-worthy problem—his lifelong guilt over 
his good fortune in life and his brother’s wasted 
existence—(which is tied directly to the surface 
problem) has been forced to the surface by 
their parents’ deaths, which is why the brief 
backstory at the start of this story works. 
The protagonist’s action in agreeing to split up 
the money instead of turning it in—an action he 
takes in order to gain his brother’s love—is a 
flawed action, just as was Thelma’s in agreeing 
with Louise to not turn themselves in after 
Louise kills Harlan. In each of these two 
stories, both instances of well-meant-but- 
flawed actions by the protagonist are 
responsible for the surface problem and are 
similar in nature. And, in both instances, the 
surface problem exists to serve as the vehicle 
that drives the story-worthy problem along the 
journey. 
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Writers' tutorial entry; how to hook your readers from first page

In your novel, the inciting incident is the first sign of trouble for your protagonist: it’s the catalyst, the chemical reaction, that se...

Writers' tutorial entry; how to find your unique voice

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Finding a writing voice can be a struggle, 
whether you’re writing a novel, short story, 
flash fiction or a blog post. Some may even 
wonder, what is voice in writing? A writer’s 
voice is something uniquely their own. It makes 
their work pop, plus readers recognize the 
familiarity. You would be able to identify the 
difference between Tolkien and Hemingway, 
wouldn’t you? It’s the way they write; their 
voice, in writing, is as natural as everyone’s 
speaking voice. Your voice should be authentic, 
even if you borrow a sense of style from your 
favorite author. But remember, voice and style 
are two entirely different things. 
When you find that unique voice, you might not 
even be able to explain how it came about—let 
alone describe what it is. That’s the beauty of 
writing and discovering as you write. 
Sometimes the best things just happen 
naturally. In his book Writing the Breakout 
Novel, literary agent Donald Maass discusses 
developing a writing voice, it’s importance and 
where it comes from: 
* * * 
“I am looking for authors with a distinctive 
voice.” I hear that from editors over lunch 
almost as often as I hear, “I am looking for big, 
well-written thrillers.” 
What the heck is “voice”? By this, do editors 
mean “style”? I do not think so. By voice, I 
think they mean not only a unique way of 
putting words together, but a unique sensibility, 
a distinctive way of looking at the world, an 
outlook that enriches an author’s oeuvre. They 
want to read an author who is like no other. An 
original. A standout. A voice. 
How can you develop your voice? To some 
extent it happens all by itself. Stories come 
from the subconscious. What drives you to 
write, to some extent, are your own unresolved 
inner conflicts. Have you noticed your favorite 
authors have character types that recur? Plot 
turns that feel familiar? Descriptive details that 
you would swear you have read before (a 
yellow bowl, a slant of light, an inch of cigarette 
ash)? That is the subconscious at work. 
You can facilitate voice by giving yourself the 
freedom to say things in your own unique way. 
You do not talk exactly like anyone else, right? 
Why should you write like everyone else? 
Science fiction writer Neal Stephenson has a 
unique voice. His cyber-sensibility comes 
through in his very choice of words. At the 
beginning of his 1992 novel Snow Crash , 
Stephenson introduces his pizza-delivery hero 
and, in this passage, his car: 
The Deliverator’s car has enough potential 
energy packed into its batteries to fire a pound 
of bacon into the Asteroid Belt. Unlike a bimbo 
box or a Burb beater, the Deliverator’s car 
unloads that power through gaping, gleaming, 
polished sphincters. When the Deliverator puts 
the hammer down, shit happens. You want to 
talk contact patches? Your car’s tires have tiny 
contact patches, talk to the asphalt in four 
places the size of your tongue. The 
Deliverator’s car has big sticky tires with 
contact patches the size of a fat lady’s thighs. 
The Deliverator is in touch with the road, starts 
like a bad day, stops on a peseta. 
Another distinctive voice in science fiction 
belongs to my client Nalo Hopkinson, a 
Jamaican Canadian who not only envisions the 
future, but who envisions the future of people of 
color in Creole-spiced prose that is as flavorful 
as gumbo. Her 1998 debut novel, Brown Girl in 
the Ring , won her the John W. Campbell Award 
for Best New Writer, a stunning collection of 
reviews, and is in its fourth printing. In her 2000 
novel Midnight Robber , Hopkinson pushes her 
voice even further. Its opening paragraphs 
introduce a storyteller narrator and the novel’s 
heroine, the Midnight Robber: 
Oho. Like it starting, oui? Don’t be frightened, 
sweetness; is for the best. I go be with you the 
whole time. Trust me and let me distract you a 
little bit with one anasi story: 
It had a woman, you see, a strong, hard-back 
woman with skin like cocoa-tea. She two foot- 
them tough from hiking through the diable 
bush, the devil bush on the prison planet of 
New Half-Way Tree. When she walk, she foot 
strike the hard earth bup! like breadfruit 
dropping to the ground. She two arms hard 
with muscle from all the years of hacking paths 
through the diable bush on New Half-Way Tree. 
Even she hair itself rough and wiry; long black 
knotty locks springing from she scalp and 
corkscrewing all the way down she back. She 
name Tan-Tan, and New Half-Way Tree she 
planet. 
That said, it is worth noting that the voice of 
many bestselling authors is as neutral as a 
national news anchor’s accent. Some say it 
takes blandness of style to break out; or rather, 
to rub so few people the wrong way that 
millions can read the author without any 
discomfort. My own feeling is that voice is a 
natural attribute. You no more control it than 
you can control the color of your eyes—nor 
would you want to. Plenty of breakout authors 
have a distinctive voice. 
To set your voice free, set your words free. Set 
your characters free. Most important, set your 
heart free. It is from the unknowable shadows 
of your subconscious that your stories will find 
their drive and from which they will draw their 
meaning. No one can loan that or teach you 
that. Your voice is your self in the story. 
* * * 
A writer’s voice can vary, too, particularly when 
crossing genres of fiction (and nonfiction). You 
probably wouldn’t write a romance novel the 
same way that you write crime. If you’re 
looking to develop a consistent voice, try 
reading a lot of works by one author—look for 
patterns (and inspiration). Some of my 
personal favorites are Cormac McCarthy, Chuck 
Palahniuk and Colson Whitehead. Generally, 
they keep a similar style and voice across all of 
their novels. 
It could be as simple as practicing free writing. 
It might mean trying exercises to find the 
particular voice you are looking for. For 
example, if your narrator is your protagonist, 
you might want to try develop a unique voice 
for him that stands out from your own. I like to 
come up with characteristics or traits of that 
narrator and create statements as if that 
character was saying them. “I’m a smoker.” “I 
have anger issues.” “I’m an insomniac.” What 
do these traits tell you about that character? 
What naturally flows from your fingertips as you 
write these statements? You can find out a lot 
about your character’s voice, or your own 
writing voice, by writing everything that comes 
to mind. By writing what’s natural. Just remember to keep writing. 
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Writers' tutorial entry; how to find your unique voice

Finding a writing voice can be a struggle, whether you’re writing a novel, short story, flash fiction or a blog post. Some may even wond...

Poet's corner entry; The crower

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So Early, 
So early, 
the crower wakes with tone of glorifying crows, 
it cackles enjoin'd for hearings to know, 
the tale of the night gloom seemingly unfold, 
and morning glory that is forced to show. 
So early, 
we give all our first praise, 
to one and only him that creates, 
if we hadn't return through the night, 
and a journey of heavenly miles, 
none to blame thee of our demise, 
yet you make us live, you're so kind. 
So early, 
our dear moon seized its glow, 
so we spread'd on wings for a goal, 
before the giant sun ever shall grow, 
our passion for daily bread has ignited, ready to 
go, 
ready for the butter'd bread, blessings untold. 
¤wizard calidad¤ 
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Poet's corner entry; The crower

So Early, So early, the crower wakes with tone of glorifying crows, it cackles enjoin'd for hearings to know, the tale of the night...

Poet's corner entry; afraid

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Afraid!!! 
Watching a mob, 
from an inclined cliff top, 
men and women i saw spread'd like a giant rug 
on earth, It seems there heads were cropp'd 
to look like army platoons in war. 
... 
Of what fear had my heart being robb'd, 
when i believed oaks are gone, 
mahoganies have been lost in gross, 
these humans are pretty too much, 
for all their coffins, woods never shall work, 
conservation threats, our forest wont be enough. 
... 
I trekk'd in vast areas of our dear land, 
discover'd i did, big is the earth, 
when infact will i be big, 
how long shall i wait to be rich. 
Soonest, 
i must purchased my self plots of land, 
a must shall i carve myself a wonderful niche, 
of deca-decks, of glossy walls of peace, 
but these humans are pretty too much, 
if all should carve a niche before i'm big, 
i'm scared this crust wont just be enough. 
... 
Great yankees has no more land, 
exploring the moon, they rig'd the first flag 
deep in expanse of the space so large, 
but not all arenas on moon can we gad. 
Still, these humans are pretty wild, 
their many bouyant ilks are money mad, 
the moon's abode shall full before grow we lads, 
we might not meet up, it makes me sad. 
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Poet's corner entry; afraid

Afraid!!! Watching a mob, from an inclined cliff top, men and women i saw spread'd like a giant rug on earth, It seems there heads ...

Thesaurus entry; Fear

Because fear is our intuition — it’s the emotion that tells us when change is occurring, when we need to orient to something in our environment, and when we need to take action to avoid harm or injury, it’s really important to understand fear in all its form. 
I separate fear into Fear, 
Anxiety & Worry, Panic & Terror, andConfusion. In this list, my categories are reorganized under the master category of Fear. 
Remember that fear requires that you check in and figure out what you’re being alerted to. Asking the internal question for fear: What action should be taken ? ( What should I do? ) will help you identify and work with your fear in 
useful ways. If you can work with your fear, you can understand when it is healthy and appropriate, and when it is repetitive and unhelpful to you.
Soft Fear 
Alert ~ Hesitant ~ Pensive ~ Watchful ~ Cautious ~ Curious ~ Leery ~ Uneasy ~ Doubtful ~ Confused ~ Fidgety ~ Apprehensive ~ Shy ~ Concerned ~ Disquieted ~ Timid ~ Edgy ~ 
Disconcerted ~ Insecure ~ Indecisive ~ Disoriented
Mood State Fear Fearful ~ Afraid ~ Suspicious ~ Startled ~ Unnerved ~ Anxious ~ Nervous ~ 
Worried ~ Alarmed ~ Shaky ~ Perturbed ~ Aversive ~ Wary ~ Distrustful ~ Rattled ~ Unsettled ~ Jumpy
Intense Fear 
Terrorized ~ Shocked ~ Panicked ~ Filled with Dread ~ Horrified ~ Phobic ~ Petrified ~ Paralyzed 
If you experience repetitive fears, 
worries, or anxieties that don’t track reliably to actual dangers — and don’t respond to any actions you can take, it’s important to reach out to your doctor or therapist. Fear is a lifesaving emotion that primes your brain, your muscles, and all of your senses for action. If your fear is stuck in a feedback loop, you may become overwhelmed and exhausted by the activation it causes — which will activate more fear and eventually knock you into disarray. It’s important to be able to calm your body so that you can get back into a workable relationship with your fear. Fear has an irreplaceable job to do; therefore, it’s important to be able to work with your fear in healthy ways.
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Thesaurus entry; Fear

Because fear is our intuition — it’s the emotion that tells us when change is occurring, when we need to orient to something in our environm...

Scenerymania entry; eternal ties

Madila, Matila and Melisa were known to be 
siblings of a family of five, Melisa being the only 
girl and the last born of the set up, Madila; the 
first while Matila second'd him as the middle 
born, a happy family before the war, who will 
quench this fire burning right in many men's 
heart courtesy of Meli's beauty, a rare gem of 
pearless visage, her beauty will dictate without 
paying for the pippers' tone, luring her to be 
yours is equal to riding on a moon with a 
rainbow sledge, able men didst strive, lazy ones' 
heart cried mute, no ordinary bloke would come 
to woo. 
.......... 
Oneday, the earth tumbles on its pole as sand 
pours on heaven's gaze, upside down was all 
thing, people would walk with their pates. Heavy 
shrills, paradigm shift we pray, it later resumed to 
former tranquil as all we did fain, we sigh with 
dismay, though the tempest span was of shrift, it 
could have led all we to our early graves. 
Many secrets were reveal'd, hidden documents 
of classified intels, hither we saw one file forged 
with faded ink that looks like a contract reach'd 
about a double decade ago, if you will guess; it 
was Meli's maternity history dated up to her 
adoption age, all embedd'd secretly in the file. 
They tried to beget a baby gal but couldn't so 
adoption was the best thing for them to vie. 
......... 
Happy brothers now has emphasy to raised their 
love foundations on, neither were we maternally 
nor paternally tied, our once pretty sister might 
as well end up being our bethrothed wife. Out of 
family scope suitors were pursued and now it 
seems like a two horse race with family and 
familiarity at stake. 
This damsel prefer'd her love in Mati's hand to 
Madi's heart, Mati would be chosen by her a 
million times whilst Madila would strifed, this is 
where i realized the love of beauty is prior to all 
evil wish, Madi will do and undo, his former 
gentle attitude seemingly unfolding to a beast- 
like demeanour, he has done more than his age 
could permits. 
........ 
In pursuit to kill his lone sibling the mother died, 
father follow'd courtesy of the poison'd icy juice 
of orange prepared for Matila. 
Now he wails, 'i ruin'd it all', he thought, 'will God 
ever forgives this craving indulgence, how shall i 
scape through Thee's wrath, t'was said a heart 
that knows love has no room for hatred, from 
where did i pick'd mine. His swollen face is 
suffering of two demise, he lost his parents and 
the girl he lust'd, yet, his brother seized from 
dying. 
......... 
On entering the house to seek for his brother's 
utmost forgiveness, it seems he visited an empty 
house as nothing was inside except a scroll of 
white paper with message forged with red ink on 
its face, it states, 'Dear Madila, we use to put our 
lives in your hand, we use to put our love in your 
heart, we use to put our words in your trust, we 
use to put our hopes in your future, we use to put 
our future in your care, we use to put our care in 
your helm. 
Why hath love shatter'd our hopes, why hath lust 
shatter'd our dreams, why hath ill-dreams 
shredd'd our future, now the future we so much 
await'd hath separated us'. 
'I thought you're a brother that can deliver his 
brother from evil but rather you're an evil who 
shalt deliver me to peril, i detest you like the 
devil's sight, i wish'd we're never bound by family 
ties'. 'I forgive you for the killings and hope 
oneday the fate that distant us can bring us back 
together as one'. 'Matila and Melisa found a 
greener pasture. 
Bye Bye Brother'. 
Guilt fill'd his passion has he sobed like a bitten 
and beaten toddler, in lieu of him living a regretful 
life, he would rather get himself hang'd. 
....... 
¤wizard calidad¤
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Scenerymania entry; eternal ties

Madila, Matila and Melisa were known to be siblings of a family of five, Melisa being the only girl and the last born of the set up, Madil...

Poets' corner entry; Those feelings

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Colourful pandora was healing, 
the sitting jake hither could gad, 
coupled with his newly found heart, 
he unleash'd different vein against his bidding, 
it now looks more of avatar kind of love, 
ilk of which none ever has dream'd it. 
..... 
Ilium tussle has arised, 
now storifying the Troy's strife, 
Prince Paris stole a queen's visage, 
the Great Hector couldn't keep himself alive, 
who shalt stop Archile's killing spree, 
until love taught Paris archery skills, 
as he pull'd the bow against the beast heel. 
.... 
Even the only mild from the slum fell in love, 
he'ld buy latika's freedom for ten million rupees, 
want her situations out of the odd, 
abscond farer with her like flying cupids, 
until Salim kill this fiery god; 
he-god whom of wrath is a glutton. 
...... 
I'm the eye inside the box of witness, 
caught offside on the mark of love interest, 
who didst created us on this major difference, 
my love hither, her love thither, whither is my 
God, 
my breathe sucks with so much effect. 
...... 
Pin'd were we on different parallel of latitude, 
meridian'd we lies on some greenwich longitude, 
now in despair love attitude, 
our hearts will manage lonely solitude, 
the pounding beat of my heart would lift a plane's altitude. 
...... 
I so much kowtow heart-breakers, 
how i wish'd i'm one, 
i wish'd i could tear apart a heart, 
i wish'd my heart is just for fun, 
fantasy of love,sitting side by side in a cart. 
....... 
When i hung up and say to her goodbye, 
my body's heat would boil egg and fry, 
my emotions would bite, 
my conscience would fight. 
....... 
I wish'd i had blown you kisses, 
and not paint red your lips, 
if i had a clone of my former ways, 
i would have cling'd to you to my grave days. 
..... 
¤wizard calidad¤ 
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Poets' corner entry; Those feelings

Colourful pandora was healing, the sitting jake hither could gad, coupled with his newly found heart, he unleash'd different vein ag...

Scenerymania entry; About everything

If there was a camera, it would only show an apple. An apple, in the hand of skinny white kid who looks too young to be in high school, that gets eaten.  The camera will show how his 
teeth digs into its yellow sides, bringing the piece into his mouth. The camera will spend maybe five minutes documenting his various 
lunch items and how he eats them, with upbeat punk music in the background. 
The kid- who I will now call Scott- suddenly looks down at his leg, on which there is a vibrating phone. He smiles, then picks it up to 
read the message.  He finishes reading it, then frowns even though he is glad his mother will 
drive him home that day. 
Scott looks straight ahead; there is a brick wall across from the stairs he is sitting on. The bricks aren't all red, with varying shades of orange, but it is still severely plain. He stares for a while, as the sight in front of him is only a 
method for him to be aware of his real-life self as his thoughts wander. In his view, he sees a 
girl, with a red hair, much brighter than the orange bricks behind her. She looks in his direction, then smiles and waves. Scott does the same but with more enthusiasm. His waving hand hits the leg of another girl coming down the stairs. This girl says something to the boy and steps over his empty lunch bag. Swallowing, then looking down, he uses the 
grey steps as an awareness point and lets his mind walk up the steps and into a more stimulating place. 
The bell rings, signalling the beginning of sixth period, to which he stands up and leaves.  He  doesn't go to his locker, his class or even the 
bathroom. Scott walks out of the front of theschool, heading toward an address he found on 
Google Maps. About a block way, he starts to 
sweat-not from anxiety. He wonders what 
would happen if a cop saw him. He gasps as 
his fears come into reality when a cop car 
drives by. The car does not stop or slow down, 
however. Taking a deep breath, Scott 
continues on. 
When he finally gets the the address, he sits 
down on some steps in front of a parking 
garage. He looks up at its grey sides, then 
down at the black asphalt beneath it. He looks 
at an empty parking lot, then heads toward it. 
When he reaches the middle, he sits down, 
opens his backpack, and removes a box of 
chalk.  He takes out a piece of red chalk, 
orange, and white chalk. Taking the white, he 
runs in a straight line across the parking lot 
while dragging the chalk on the asphalt.  He 
changes position and does this again. Then 
again. Then again. And after several more 
times, he stops to catch his breath. The 
camera zooms out to show that he wrote 
"EVERYTHING" on the asphalt. He takes the 
red and orange pieces-both in his hands at the 
same time, creating a double line whenever he 
wrote with them. Pressing them with all his 
might onto the asphalt, he makes a big curvy 
"S". He makes four more letters, which 
together read "SUCKS". He drops the chalk 
from his shaking hands and stares at the 
incomprehensible lines. 
After several minutes of admiring his work, he 
runs-sprinting-toward the parking structure. 
He runs to the elevator that takes him to the 
tenth floor. Going to the edge of the structured 
lot, he looks down on the chalk-covered lot. 
After quickly looking away, he looks back 
again, then charges for the stairs. He goes as 
fast as he possibly can down the stairs until he 
gets to his lot again. Scott pulls his jacket off 
and throws it on the ground. He steps on the 
jacket and rubs it all over the red and orange 
chalk until it is all embedded on his jacket and 
off the ground. Grabbing the box of chalk, he 
picks blue and begins writing again. This time, 
there are more letters.  He finishes the words 
and the chalk then runs up the stairs to the 
twelfth floor-the highest he can go. Smiling, he 
looks at the parking lot that is only empty of 
cars. It reads "EVERYTHING IS BEAUTIFUL". 
Scott looks down at his watch on his way back 
down, seeing that he has enough time for his 
mother to give him a ride home.
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Scenerymania entry; About everything

If there was a camera, it would only show an apple. An apple, in the hand of skinny white kid who looks too young to be in high school, that...

Featured profile entry, literature muse; chisom madu kingdavid

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Some were born to write, some learned to write, some write for fun, some write for money, some can't just do without writing. Whichever category it is that you are fall in, the most important thing is the muse you carry. It is always the root of the uniqueness in your work. The name of the featured writer for today is chisom madu king David, he is no doubt one of the writers that were born to write and were as such gifted an outstanding Muse right from heaven. 
"Madu Chisom Kingdavid is a student of History and International Studies at Imo State University, Owerri. One of his poems won a Consolatory Prize in 3rd Korea-Nigeria Poetry Feast ( World Poetry Day 2013 ). He is the winner of Eriata Oribhabor Poetry Prize 2013. Some of his works 
have featured in anthologies and magazines as well." 
We featured his poem that won the poetry prize check it out <a href="http://museguide9ja.blogspot.com/2013/09/featured-master-piece-entry-my-voice.html?m=0">here</a> 
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Featured profile entry, literature muse; chisom madu kingdavid

Some were born to write, some learned to write, some write for fun, some write for money, some can't just do without writing. Whichever...

Featured masterpiece entry visual art; The emerald awesome girl

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Graphical designing is a thing every Tom Dick and Harry can afford to do, however our featured design for today is one that only a Tom, Dick, or an Harry with an outstanding Muse and skill can afford. This design is not just the glossed digital designs that rule our present world, it is however blurry but yet amazingly hued to a perfect artistic standard. The emerald green hue of the design astound me the most, then the lady in the picture added some more spice to the already boiling sauce of artistic excellence. Why not? Her ravishing nature is amazing enough to catch the eye of every individual with an eye for beauty, the fact that I am a guy makes me even more entranced by it. Then there is this her ear rings, the ornate mass reeks of royalty, and it hence perfectly complemented her look. The design reminds me of the good old days where paints and brushes handed us our destiny, and our Muse painted us the world. Kudos olympio I honestly give this design a 10/10. What do you think about the design and my rating? Check it out below and drop your comments! 
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Featured masterpiece entry visual art; The emerald awesome girl

Graphical designing is a thing every Tom Dick and Harry can afford to do, however our featured design for today is one that only a Tom, Dic...

Featured masterpiece entry musical Muse; press it by G40

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Handsome rapper, singer and songwriter, G40 a.k.a Mister Papara makes his debut with a single titled 'Press It'. G40 is a fresh breed who has being compared to the likes of Sean Tizzle and Pelli but draws musical influences from Fela Kuti, R. Kelly to name a few, he is certainly one to watch out for. He is currently signed to Brytunes Entertainment. Check on the hot track and share

<a href="http://old.hulkshare.com/dl/czjeh7popatc/G40%20-%20press%20it?d=1">Download here</a>
</div>

Featured masterpiece entry musical Muse; press it by G40

Handsome rapper, singer and songwriter, G40 a.k.a Mister Papara makes his debut with a single titled 'Press It'. G40 is a fresh ...

Featured profile entry, visual art; olympio™ grafix

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Olympio™ grafix: a graphical design brand of a young man with exemplanary visual art muse; his name is oyewole bamidele. He is a graduate of lautech with B.tech certificate in biochemistry, even as such he has keen interest in graphical designing and has earned certificates to prove his skill. When I asked him how he discovered his talent and how he has been coping with it, this was what he said; 
"It started as an hobby when I was little, to draw objects and to like art. As I grew, I love arts more which made me opt for finearts in secondary school. Being a melancholy, I also like to strive for perfection too which makes my works to stand out among others. Although I didn't go on to study arts/graphics but still have professional certs though. 
You only need to see some of his designs to be totally amazed by how skillful he has been. Check them out below: and check the featured master piece entry titled "the emerald-awesome girl", here for his extra amazing design.</div>

Featured profile entry, visual art; olympio™ grafix

Olympio™ grafix: a graphical design brand of a young man with exemplanary visual art muse; his name is oyewole bamidele. He is a grad...

Writers' tutorial entry; a simple haiku formula

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Are you a fan of haiku? Or you are a curious literature muse wondering what haiku really is. Then I can bet it with you that this is the post you've been waiting for. Haiku is a very short poem of japanese origin. The most amazing thing about haikus is their rhyming scheme and the fact that such short poem could carry an enormous depth. I'll call haiku a short japanese literature wonder, or a three line poetic wonder. Haikus are easy to write if you know it's secrete. If you really want to know more about haikus and learn a very simple formula to write an oustanding haiku please&nbsp;<a href="http://hubpages.com/hub/A-Simple-Haiku-Writing-Formula">Click Here</a> thanks for reading. Have a nice day. Entry by Abd-afeez </div> 
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Writers' tutorial entry; a simple haiku formula

Are you a fan of haiku? Or you are a curious literature muse wondering what haiku really is. Then I can bet it with you that this is the po...

Writers' resource entry; Duotrope

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I've realised it's every writer's dream to publish their works. What is the essence of spending hours of your precious time on writting wonderful pieces that won't earn you a single penny. Looking for publishers is extremely tedious and discouraging, however, you shouldn't be discouraged, if your piece is really good, finding a publisher to accept your work won't be that tough. To this I'm willing to share you a wonderful resource. You can try out duotrope to help you find your publisher, right at the comfort of your home. 
"Write, re-write, submit..... 
The first two are up to you, but we can help with the third. Duotrope is an established award-winning writers' resource, and we're here to help you spend less time submitting so you can focus on writing. Whether you're an experienced writer or just getting started... whether your creative leanings are literary or genre, factual or poetic... our listings cover the entire spectrum." 
Visit Duotrope.com and feel the magic. Thanks for reading this.</div>

Writers' resource entry; Duotrope

I've realised it's every writer's dream to publish their works. What is the essence of spending hours of your precious time o...

Scenerymania entry; burning fire

<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizUATLYs7NNqRtxafBlunN9hz-qzeeBGqE5FJnipo1tkW9hyphenhyphenDe9kXL3qzbMU1mtYuV4v2gvumMrKqSVdiVITC9PYuIB13cEuv_S2Q13B9CY3vZXIdG-ibTOwTXvg7RgUWXoQV80J8fA9Y/s1600/3416801-118670-two-girls-fighting-over-770001.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5924555930061275026" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizUATLYs7NNqRtxafBlunN9hz-qzeeBGqE5FJnipo1tkW9hyphenhyphenDe9kXL3qzbMU1mtYuV4v2gvumMrKqSVdiVITC9PYuIB13cEuv_S2Q13B9CY3vZXIdG-ibTOwTXvg7RgUWXoQV80J8fA9Y/s320/3416801-118670-two-girls-fighting-over-770001.jpg" /></a>She looked really pale that night. Her face was white and washed out, but stained by what her tears did to her mascara. "I hate you," she said to me, nearly choking on her tears. Chloé lay in her bed, crying coughing and convulsing. "You can't hate me," I reminded her. "I am your sister." "I don't care!" she sat up sharply. "I told you so many times that I loved him. But it didn't stop you from going ahead and taking him from me." "Taking?" I shook my head. "You never had him." I turned around trying to avoid the situation. I felt horrible. Every piece of my insides was feeling sore from all the guilt. But what was I guilty of? Was I guilty that I had deliberately hurt my sister? Or was I guilty because she found out? The latter, I decided. "I liked him first, Charlotte. And I told you that I did," she sobbed. I couldn't really hear what she was saying. "Calm down, Chloé!" I ordered. "We're not fifteen anymore." "A year. A whole year. And I was stupid, denying everything I heard." Was there reason to apologize? She wouldn't release me from such an uncomfortable conversation. Owning up to my shattering secret was almost as hard as watching someone I love die. "Just go to sleep," I encouraged her. "Here." I opened the drawer of the table by her bed and used a match to light a candle. It was a pink one, in a glass case, that smelled like wild roses. Chloé would always light it before she slept. I needed silence. I needed the sound of her ugly crying to cease. I just needed the comfort of deadness. The noise was just bruising my feelings even more. "How can I sleep? Please, explain to me how I should sleep when I feel like a worthless, broken doll," she hissed. "Just sleep. Just forget about it. The situation is stupid. You're never going to have him," I pierced the words into her brain trying to turn her speechless. She climbed out of bed. She was physically stronger than she was mentally. Her limbs were still working despite her desire to lie in bed and cry all night. She cradled the candle in her hands. "I hate you, Charlotte," she whispered, her head hanging low, staring at the burning flame. "You ruined my life." "Oh, stop. You're overreacting," I scolded her. "No!" she squeezed her eyes shut and threw the candle on the ground shattering the glass. The flame expanded quickly. It no longer looked like a little orange droplet. Now it was a wave covering the floor, growing in size by the second. "Chloé!" I screamed. "What the hell?" "I hate you! I hate you!" she pushed me towards the wall. I lost my balance and let my body hit the surface. Suddenly, I couldn't even see her silhouette anymore beyond the rising flames. I heard her feet pound on the ground as she left me alone in the fire. "Chloé! Chloé!" I called. But she didn't answer. I did this to myself. Now it was my turn to deal with the burns.

Scenerymania entry; burning fire

She looked really pale that night. Her face was white and washed out, but stained by what her tears did to her mascara. "I hate you,&qu...

writers tutorial; 6 ways to write better bad guys

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Dear Author: We antagonists, villains, bad guys, 
femme fatales—call us what you will—don't get 
no respect. We're overlooked, underdeveloped 
and squeezed into a space that would cramp 
your average gerbils. When we get short shrift, 
your books aren't nearly as good as they could 
be. They lack tension and depth. They're 
forgettable. Not that I'm one for pointing 
fingers, but I've got to tell you, it's your fault. 
Who was given pages and pages of backstory 
in your last novel? That's right—the 
protagonist. Whose motives and character arc 
were fully fleshed out? Right again—the so- 
called "good" guy's. Who did you "interview" 
and construct a character bible for? Yeah, him 
again. Well, I don't mind getting second billing, 
but I have to point out that if you gave readers 
a chance to truly know and understand me, 
your books would be a lot more memorable 
and engaging. We might even get a movie deal, 
like my idol, Hannibal Lecter. 
Sincerely, Eva N. Carnate 
I don't know how the above email got into my 
inbox, but it caught my attention immediately. 
Did Eva have a point? It didn't take me long to 
review my work-in-progress, analyse some 
novels I'd read recently and realize that she 
did. Many authors are guilty of discriminating 
against their antagonists. Yet, they're just as 
important to good stories as the protagonists 
are. If your antagonist is not fully realised, lacks 
depth or is a caricature of evil, your story will 
suffer. 
—by Laura Disilverio 
Luckily, transforming your antagonist from a 
one-dimensional paper doll into a force to be 
reckoned with—and remembered—is completely 
possible if you implement a few simple but 
powerful methods for creating antagonists and 
expanding their roles. You can build a worthy 
adversary during the outlining process or beef 
one up when you revise your already completed 
draft. It's never too late. 
The antagonist is, quite simply, the person who 
acts to keep your protagonist from achieving 
his goals. Note the key words person and acts. 
I'm using person here as a catchall for a 
sentient being or creation of any kind that is 
capable of emotion and has the intellectual 
ability to plot against your protagonist. Thus, a 
personified car (as in Stephen King's Christine) 
could be an effective antagonist, but an 
abstraction such as "society" or "Big Pharma" 
cannot. (More on this later.) 
The antagonist must act to prevent your 
heroine from achieving her goals, whether that 
action is whispering reminders that she's totally 
useless, plunging a knife into her back or 
anything in between. The type of action your 
antagonist takes will depend on his nature and 
the kind of story you're writing. But your story 
must have an antagonist. (In some stories—Dr. 
Jekyll and Mr. Hyde comes to mind—the 
protagonist is actually his own antagonist.) 
Without an active antagonist, your hero could 
take a leisurely Sunday stroll toward his goal. 
Lacking the obstacles a worthy antagonist 
would provide, he would also lack the 
opportunity for growth or the necessity to 
change, and his character arc would flatline (as 
would your sales). 
With the following tips in mind, reread your 
manuscript with an eye toward making your 
antagonist as compelling as your protagonist. 
Some effort on your part could even put your 
villain in the heady company of Professor 
Moriarty, the White Witch, Simon Legree and 
Nurse Ratched. 
1. Remember that Antagonists are people, 
too. 
I stop reading novels in which the antagonist is 
obviously nothing more than a device to move 
the plot in a certain direction. If I can't 
empathise with the antagonist, believe in her 
motives or understand why she's dishing out 
evil, I put the book aside. Flesh out your 
antagonist. Give us an origin story (how she 
became the way she is) or show that she 
regrets something and might change if given a 
chance. 
If working with a nonhuman antagonist, 
personify him at least a little bit. Think of 
Frankenstein's loneliness, HAL's (the computer 
in 2001: A Space Odyssey) jealousy or Shere 
Khan's hatred of the "man cub" ( The Jungle 
Book ). Show the antagonist doing something 
nice. Even villains love their mothers or 
cockapoos, volunteer at soup kitchens or help 
snow-stuck motorists push their cars out of 
intersections. Do this early on. Give him 
believable, even laudable, motives. 
Inspector Javert from Victor Hugo's Les 
Misérables is a strong antagonist because his 
obsession with finding Valjean stems from his 
belief that stealing is wrong. How many readers 
would disagree with that? Javert's insistence 
that theft is always, without exception, wrong, 
however, turns his crusade into persecution. 
His inability to believe that good and evil can 
coexist in a single man leads him to suicide. 
His death is one of the story's tragedies 
because he has been so thoroughly developed 
as a character and because we have, from the 
beginning, understood his motives and his 
flaws. 
2. Eschew the totally evil antagonist 
(except, possibly, in some horror or 
monster stories). 
Pure evil is dull, unbelievable and predictable. 
Readers cannot relate to it. Sometimes evil 
characters devolve into cartoons and become 
jokes, thus killing suspense or tension. Other 
times they're boring: Yeah, yeah, the serial killer 
who tortured small animals as a child and is 
now stalking women that remind him of his 
mother … yawn. One way to prevent a truly dark 
character from becoming a caricature is to 
make her a viewpoint character—because no 
character is the embodiment of evil in her own 
mind. No one is the villain in his own story. 
George R.R. Martin did this effectively in his A 
Song of Ice and Fire series. In its first book, A 
Game of Thrones, Jaime and Cersei Lannister, 
the incestuous brother and sister, seem to be 
evil personified, the characters readers love to 
hate. In subsequent books, however, they 
become viewpoint characters, making it difficult 
not to empathize with them. 
If your book's structure makes it impossible to 
show the antagonist's viewpoint, place one of 
the viewpoint characters in the antagonist's 
position and have him try to understand his 
perspective. Perhaps your heroine is struggling 
to find day care for her infant while your villain 
is looking at nursing homes for his ageing father. 
Or they could both lose something dear to 
them, or confront job-related problems. It could 
even be something small: Your protagonist 
could get stuck in a traffic jam, while your 
antagonist's flight is delayed by the weather. 
The point is to show similarity, humanity and 
an overlap of feelings and experience between 
the protagonist and the antagonist. This will 
enlarge the reader's perception of the 
antagonist, even if subconsciously. 
3. If you're tempted to say your antagonist 
is a corporation, disease or war—don't. 
Abstractions make for distant, unrelatable 
antagonists. If you think "organised religion" or 
"corporate greed" is your hero's antagonist, 
your story might be more effective as an essay. 
Put a human face on the abstraction. A 
hypocritical pastor might make a good 
antagonist in the first instance, or a ruthless 
Wall Street type in the second (Gordon Gekko, 
anyone?). Those people can represent the 
abstraction and take action against the 
protagonist. 
In Anton Myrer's Once an Eagle, it would be 
easy to think of "war" as Sam Damon's 
antagonist. Myrer thrusts Damon into every war 
from the early 20th century to 
"Khotiane" (Vietnam) and paints a grim picture 
of the suffering it causes him. Yet "war" does 
not act against Damon; it is war's human face, 
Courtney Massengale, who manoeuvres to 
defeat Damon and ensures he loses out on the 
promotion that might have allowed him to 
persuade policy-makers not to get the U.S. 
involved in Khotiane. Without this human 
antagonist, Damon's life (and Once an Eagle) 
would have less meaning; he would be fighting 
against uncontrollable, impersonal geopolitical 
forces with no hope of changing the outcome. 
His almost lifelong tussle with Massengale, 
however, is one every individual can identify 
with: the battle to live each day as a good 
human being, devoted to a higher cause than 
self-interest. If your work-in-progress features 
an abstraction as the antagonist, rework it to 
give the abstraction a Massengalian face. 
4. Make your antagonist at least as smart, 
strong and capable as the protagonist. 
There's no tension in a story where the 
protagonist is a Mensa member and Delta 
Force commando and his foe is a wimpy dolt. 
Do you enjoy watching a football game when 
the score is 72–0, or a horse race when one 
thoroughbred wins by 20 lengths? No, such 
uneven matchups are boring. The same is true 
in novels. So, to heighten tension throughout 
the story, your antagonist needs to be your 
hero's equal, or superior to your hero, at least 
in some arenas. Consider giving the antagonist 
complementary traits (he's calm and detail- 
oriented if your heroine is impulsive; she's a 
great team-builder or motivator if the hero is a 
loner). 
In graphic novels, archenemies frequently 
embody the exact opposite qualities of the 
superheroes, and are more than a match for 
them. Whereas Superman's strength is, well, 
strength, Lex Luthor's advantage is intellect. 
5. Keep the tension strong when the 
antagonist is a friend, ally or loved one. 
If your protagonist's dream is to return to 
college at 40 and her husband tells her she's 
too old, he's the antagonist, even though they 
love each other. This "beloved antagonist" 
scenario happens frequently in women's fiction 
and mainstream literature. A husband might 
act, sometimes unconsciously, to keep the 
heroine from reinventing herself. Or, an adult 
child might be convinced that the aging 
protagonist would be happier in a nursing 
home. Think of any character who ever uttered 
the phrase, "It's for your own good." When 
writing this kind of antagonist, capitalize on the 
conflict inherent in the relationship and on the 
drama that arises when someone with our best 
interests at heart—someone we care about— 
stands between us and a goal. Our 
protagonists don't want to destroy beloved 
antagonists or see them jailed or rendered 
impotent. They want to change their minds and 
maneuver around them. It can be challenging 
to keep the tension high in such a story, 
because you may not want to inflict pain on 
either the protagonist or the antagonist. Bite 
the bullet—make life hard for both of them. 
6. If your antagonist remains hidden for 
much of the story (as in a mystery), give 
him proxies or let him work behind the 
scenes. 
Forcing the protagonist to defeat proxies in 
order to reach the final battle with the primary 
antagonist is an excellent way of raising the 
stakes. One of the best examples in recent 
literature is the Harry Potter series. In the first 
book, the ultimate antagonist, Lord Voldemort, receives scant mention; Rowling gradually 
reveals his importance as the series progresses. Harry and his allies must confront 
an array of proxies throughout the series, 
including a basilisk Death Eaters, dementors 
and a host of others before coming face to face with Voldemort for the climactic battle. 
Voldemort is, of course, working against Harry 
from behind the scenes even before the first 
book opens, but he must use the proxies to 
carry out his schemes until he regains a body 
and his strength. 
In most fiction, bringing the antagonist and 
protagonist face to face on more than one 
occasion will heighten the tension. When this is 
not possible for plot reasons, proxies can work, 
as can behind-the-scenes machinations such 
as anonymous threats and indirect attacks 
against the protagonist's reputation, family or 
self. Rowling enables mental contact between 
Harry and Voldemort before their physical 
confrontation; that type of "mind meld" won't 
work for all stories, but it reminds us to be 
creative in the ways we structure protagonist/ 
antagonist interactions. 
By internalizing these six tips, you can amp up 
your antagonist and make him better than he 
was before. Stronger. Wilier. Worthy of making 
your protagonist's life a bubbling cauldron of 
conflict … and of giving readers a story 
experience they won't soon forget. If we start giving antagonists the respect they deserve, 
maybe we won't get any more snarky emails from our villains, and maybe our book sales will zip toward the stratosphere. 
(Note to Eva N. Carnate: Don't get any ideas. You're still not getting your own series.) 
This article is courtesy of Brian klem.</div>

writers tutorial; 6 ways to write better bad guys

Dear Author: We antagonists, villains, bad guys, femme fatales—call us what you will—don't get no respect. We're overlooked, un...

Thesaurus entry; Anger

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Most of us know anger only in its mood state, and I’d say this is due to the (deeply unfortunate) idea that anger is only negative, and is therefore something to be avoided at all costs.
This enforced avoidance and resulting ignorance is not a very good idea, because anger helps you set boundaries , protect your sense of self, and take your stand in the world. Anger helps you protect your position, your voice, your standpoint, and your individuality. If you don’t have enough anger, you’ll tend to give up your
position and your sense of self, but if you have too much anger, you’ll continually offend against the rights of others.
Anger is also concerned with justice; not only for yourself, but for others. Your anger can be evoked when you see someone being stripped of their sense of self, their rights, or their position. Anger is a very social emotion;
if you can understand its nuances and subtleties, you can function more intelligently in your social world.
I separate anger into the
categories of Anger, Rage, Fury, Hatred,
Contempt, Disgust, Resentment,
Boredom, and Apathy.
In this list, these categories are reorganized under the master category of Anger.

Soft Anger
Annoyed ~ Frustrated ~ Cross ~
Apathetic ~ Peeved ~ Irritated ~ Cranky ~ Crabby ~ Bored ~ Impatient ~ Critical ~ Cold ~ Displeased ~ Rankled ~ Detached ~ Indifferent

Mood State Anger
Angry ~ Mad ~ Offended ~ Antagonized ~ Bristling ~ Sarcastic ~ Aggravated ~ Arrogant ~ Indignant ~ Inflamed ~
Affronted ~ Resentful ~ Incensed ~ Exasperated ~ Riled up

Intense Anger
Hostile ~ Aggressive ~ Livid ~ Outraged ~ Furious ~ Belligerent ~ Hateful ~ Appalled ~ Bitter ~ Ranting ~ Raving ~ Contemptuous ~ Disgusted ~ Vengeful ~ Vindictive ~ Violent ~ Irate ~ Menacing ~ Seething ~ Vicious ~ Spiteful
When you know you’re feeling anger, you can make intelligent emotional decisions about what to do with it. I suggest that you ask the internal questions when your boundaries and self-image (or anyone else’s) are threatened: What must be protected? and What must be restored? Anger brings you a great deal of energy,
forcefulness, and focus. Asking the internal questions will help you channel that intensity into healthy action.
A reminder: constant anger — even the soft form — can be a sign of depression, especially in men. If nearly everything in your life evokes impatience, annoyance, irritation, anger, crankiness, indignation, sarcasm, and so forth, it’s time to check in with your
doctor or therapist. Your friends and family will thank you!

Thesaurus entry; Anger

Most of us know anger only in its mood state, and I’d say this is due to the (deeply unfortunate) idea that anger is only negative, and is ...

Featured Master Piece entry; MY VOICE

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Our nation has been a stage for series of political and economical mishaps in recent years. This has been a source of great concern as these events have been stamping negative effects on the masses; especially the musers. These events hence never skipped the attention of an ever concious and skilled writer with exemplanary muse, named chisom madu kingdavid. To this he penned down a poem titled My voice, an imagery packed piece of vivid out pour from his poetic mind. This poem won Eriata Oribhabor Poetry Prize 2013 Below is the poem, I hope you'll love it.
 
 
«My voice»
 
 
My voice is the libations
 
Of our penury 's liberation
 
Poured in the heart of Aso Rock
 
Which do not appease the
 
Tenanted gods of the house.
 
 
My voice is the peeling souls
 
Of pregnant babies sucking
 
Their skeletal fingers instead
 
Of their mothers' withered breasts.
 
 
My voice is the muffled moan
 
Of the dying bones
 
Inhaling the perfumed fart
 
Of abandoned promises
 
Instead of the breath of fresh air.
 
 
My voice is the school children
 
Nursing the heartbreak of strike
 
In their indefinite honeymoon
 
Whose ceaseless clarion calls
 
Are buried in the grave of silence.
 
 
My voice is the scarlet scenes
 
Of Boko Haram 's massacres;
 
The dice of tears teeming from the
 
Eyes of men who witnessed Baga's carnage.
 
 
My voice is the Giant of Africa
 
Dodging the fogs of her cabals
 
Wading through the claws of sunset
 
Trapped in the womb of insurgency
 
 
This voice is a widower
 
Whose dear wife is Nigeria .
 
 
Sponsored by: 
 
Sir Eriata Oribabhor, ANA Abuja
 
Chairman
 
Powered by: Words Rhymes & Rhythm
 
(#WRRPoetry)</div>

Featured Master Piece entry; MY VOICE

Our nation has been a stage for series of political and economical mishaps in recent years. This has been a source of great concern as th...