5 Writing with a Constraint

The constraints is only useful to seek for writing.
This type of process can be used in groups or for yourself :
* Find words and place them in your text. This allows to write spontaneously.
* Place images or photos in the text to work on the description.
* Start sentences with words such as "if" or "like". Do not hesitate to confront the negative with the positive.
* End sentences with certain rhymes. This allows you to work on poetry in order to know your emotions.
* Learn a new (…)

To write a poem, you have to get vocabulary to find rhymes. A rhyme is an ending, pronouncing itself in the same way, in another place of the poem. The rhymes are at the end of the verses. They create the rhythm of the poem. A poem has the minimum punctuation. The rhythm of the poem makes it possible to read it without punctuation.
But there is a trick, if you don’t have a lot of vocabulary : you just need to have prepared rhymes. You can easily make rhymes in "e","ou" for example. This (…)

Correcting, or rereading a poem, lets you know the emotion that the reader likes. We feel a lot through rhythm. The rhythm in poetry is represented by syllables. A foot is his voice’s sound.
We first try to replace certain comparisons with metaphors, in relation to the emotion produced. Rereading his poem aloud, or with someone else, helps to find sensations. The Dream creates metaphors.
Vers with even syllabs are more harmonious. The silent "e" can be pronounced, but the apostrophes are (…)

The Ballad is medieval. It consists of three and a half verses, each of eight verses of eight feet.
The whole thing is played on three rhymes, with ends of verses organized like this: A-B-A-B-B-C-B-C. This creates a harmonious rhythm to sing.
All three verses end in the same verse. The final half verse, which is called "sending", begins with a beautiful word,"love" or "beautiful", for example. The Ballad ends with the rhymes B-C-B-C, in this half verse. There are twenty-eight verses at (…)

To create a workshop is to lead a group of people around a chosen theme, presenting to themselves some ideas. You have to understand the listener. But we know that we are the most accessible to beginners when we learn. Being able to explain is essential. It’s learned from completely different people.
There are endless sources on the web to create your workshop. FRAMABOOK gives you the ability to print documents on computer. Sign language can be taught through the web in workshops without (…)

Slam is about making up poems in front of other people.
To make slam you have to :
• Operate on your intuition.
• Have a growing opinion.
• Prepare the rhyming mat.
• Rhyme to practice.
• Be engaged in at least one activity.
• Do not hesitate to speak in front of an audience.
You have to read a poem first, then read it to yourself. Then we improvise with preparation and good memory. You can also read the poem you just wrote.
We can choose prepared rhymes, (…)

To write an eulogy, we must first find elements, both objective and convincing, about the person for whom, or what we praise. Then we define that’s more or less glowing.
A well-presented polemic can be laudable. The end of an eulogy fulfills the reader, or listener, with emphasis.
Then you have to write your eulogy, changing themes or points of view that are objective and positive. Objectivity improves positive sentences. Objectivity is never complete. That’s why we have to look for it. (…)

When you want to explain an idea and don’t have enough ideas for others to understand, you can relate to nature. After all, it explains the essential.
We try, then, to prepare animals or plants, choosing those that best represent that we want to explain.
We’ll then use the characters who don’t want to understand, as the ones who have the wrong role. Then, we choose a character who will make living tale’s morality, the message to tell.
Thinking, " If.." permits to write the story, or to (…)

Telling tales is improvising a living story, based on the tale’s script. We only remember the plot of the story when we tell it. We don’t recite, but we invent emotions, or dialogues.
You have to improvise and create attitudes, then make your emotions feel, when you relive this story. Some innocent listeners let you know if you’re showing the right emotion.
We can be helped by an adapted set, or a playful atmosphere, because the viewer has to play with you, to fit in with the story. (…)

Slides are shown to others. A paper was given to the others. So there is no need to know how to write, but rather to know how to show most of it.
The first shows teach his subject to an audience, who was warned about the topic with a conference’s summary. They can then be reworked with questions from the public.
It is necessary for the listener to understand the essential ideas and why they are available to him.
This is why slides are generally presented as follows: * When and why (…)