If you’ve ever felt intimidated by poetry, the sonnet might seem like the final boss. After all, it’s a tight, 14-line poem that adheres to strict rules of rhythm and rhyme. It doesn’t sound easy, but it’s actually one of the most rewarding forms to learn!
The sonnet is not just a relic of Shakespeare’s time; it is a powerful container for complex emotions and arguments. Its rules actually give you a framework, making the writing process easier for beginners by limiting your choices.
The key to unlocking this form is breaking it down into its three manageable components: the length, the rhythm, and the structure.
1. The Blueprint: Understanding Sonnet Structure
A sonnet is, by definition, a 14-line poem. But how those 14 lines are organized is what differentiates the two main types you’ll encounter. For beginners, we usually focus on the two giants: the Shakespearean sonnet and the Petrarchan sonnet.
The English (Shakespearean) Sonnet
This is the most famous version and arguably the most flexible for modern writing. It’s structured to build an argument and then deliver a powerful conclusion.
It is composed of:
- Three Quatrains (4 lines each): These twelve lines introduce the subject, explore various examples, or develop three distinct but related ideas.
- One Couplet (2 lines): This is the final, rhyming pair of lines that summarizes the whole poem, provides a sudden twist, or delivers a punchy conclusion.
The rhyme scheme of the Shakespearean sonnet is very distinct: ABAB CDCD EFEF GG. Notice how the rhyme changes in every quatrain, keeping the ideas fresh, before locking into the final couplet. This specific organization helps guide the writer from topic introduction to resolution.
The Italian (Petrarchan) Sonnet
The Italian form is slightly older and often feels more formal. It is structured around presenting a problem or a situation and then resolving it.
It is composed of:
- One Octave (8 lines): This section introduces the main conflict, question, or scenario.
- One Sestet (6 lines): This section offers the solution, commentary, or a shift in perspective.
The rhyme scheme for the Petrarchan sonnet is ABBAABBA (for the Octave) and typically CDECDE or CDCDCD (for the Sestet). Note that the octave uses only two rhyme sounds, giving it a more constrained, melodic feel. The rhyme scheme here perfectly serves the purpose of stating a case and then offering a response.
2. The Rhythm: Unlocking Iambic Pentameter
This is the element that makes a sonnet sound like a sonnet. Every classical sonnet is written in iambic pentameter. Don’t let the long name scare you; it simply means ten syllables per line, following a specific “da-DUM” beat.
What is an Iamb?
An iamb is a rhythmic foot (a unit of measure) consisting of one unstressed syllable followed by one stressed syllable: da-DUM.
Think of the natural rhythm of these words:
- a-bove
- the sun
- to-day
- I walk
When you speak these, your voice naturally lifts on the second syllable—that’s the stressed syllable, and that’s your iamb.
What is Pentameter?
The word “penta” means five, and “meter” means measure. Pentameter simply means five measures, or five feet.
So, iambic pentameter means five iambs in a row. Since each iamb has two syllables, every line of your sonnet must have exactly ten syllables that alternate the stress: unstressed/stressed/unstressed/stressed… and so on.
Here’s an example from a famous sonnet, marked with (unstressed) and (stressed):
/ / / / / / / / / Shall I | com-pare | thee to | a sum- | mer’s day?
Notice the five strong beats (I, pare, thee, sum, day). Achieving this consistent rhythm is the true challenge—and the true music—of writing a sonnet poem.
Tips for Meter Management
- Read Out Loud: The absolute best way to check your iambic pentameter is to read your lines out loud, slowly, tapping your foot or hand to the rhythm: da-DUM da-DUM da-DUM da-DUM da-DUM. If you stumble, the meter is broken.
- Use Short, Simple Words: Stressed syllables often fall on nouns, verbs, and adjectives. Unstressed syllables are often prepositions (like to, on, in), articles (like a, the), and conjunctions (like and, but).
- Start with the Beat: Instead of trying to force your words into the beat, sometimes it’s easier to tap out the dum-dum-dum-dum-dum beat first, and then place your words onto that rhythm.
It is okay to slightly vary the meter occasionally—this is called substitution—but for beginners, aim for perfect iambic pentameter in every line to learn the feel of the rhythm.
3. The Argument: The Importance of the Volta (The Turn)
What separates a sonnet from a simple 14-line poem is the Volta, or “the turn.” The sonnet isn’t just about rhyme and meter; it’s about a change in thought, perspective, or tone.
Where the Volta Occurs
- Shakespearean Sonnet: The Volta almost always occurs at the beginning of the couplet (line 13). The three quatrains present the scenario, and the couplet flips the switch, often signaled by words like But, Yet, Therefore, or So.
- Example: The quatrains might lament the fleeting nature of time, but the couplet then argues, “But my writing will make you immortal.”
- Petrarchan Sonnet: The Volta occurs between the octave and the sestet (between line 8 and line 9). The octave establishes the problem, and the sestet immediately starts working on the solution.
- Example: The octave describes how terrible a thunderstorm is, and the sestet shifts to how the rain nourishes the hidden flowers.
The Volta is the engine of the sonnet. Your poem must build tension or make a case, and then pivot sharply into a conclusion.
A Practical Step-by-Step Guide for Beginners
Now that you understand the rules, let’s walk through the writing process for a Shakespearean sonnet, as it’s easier to manage the three different quatrain rhymes than the octave’s single rhyme.
Step 1: Choose Your Subject (A Simple Conflict)
A sonnet is too short for a complex epic. Pick a single, contained subject with a built-in conflict or contrast.
- Good subjects: The difference between a dream and reality; the struggle of procrastination; a beloved pet that grows old; the beauty of nature versus the cruelty of time.
Step 2: Outline Your Quatrains (The Three Stages)
Before you worry about rhyme or meter, decide what each quatrain will say.
- Quatrain 1 (Lines 1-4, ABAB): Introduce the subject. Define the problem.
- Idea: Describe the fleeting beauty of a sunrise.
- Quatrain 2 (Lines 5-8, CDCD): Develop the subject. Give an example or a comparison.
- Idea: Compare the sunrise’s beauty to something permanent, like a painting, or something transient, like a child’s laughter.
- Quatrain 3 (Lines 9-12, EFEF): Deepen the subject. Turn the thought toward a realization or a regret.
- Idea: Express sorrow that the memory will fade and the light will be gone soon.
Step 3: Plan Your Volta and Couplet (The Final Punch)
Decide on the “turn.” What is the summary or resolution?
- Couplet (Lines 13-14, GG): The conclusion, signaled by a word like But or Yet.
- Idea: The sun may set, but the light and warmth remain in my heart/memory, making it immortal.
Step 4: Draft the Lines in Iambic Pentameter
Now, start drafting line by line, focusing only on the iambic pentameter (ten syllables, da-DUM da-DUM). Don’t worry about the rhyme yet—just the meter.
- Draft Line 1: My eyes are open when the morning comes. (10 syllables, but is the stress right? My EYES | are O | pen WHEN | the MOR | ning COMES. Pretty close!)
- Draft Line 2: The light appears and shines upon the wall. (10 syllables, The LIGHT | ap PEARS | and SHINES | up ON | the WALL. Perfect!)
Step 5: Incorporate the Rhyme Scheme
Once your 12 lines are metrically sound, go back and force the rhyme scheme (ABAB CDCD EFEF) onto them. This is the hardest part. You will likely have to rewrite and re-meter several lines.
- If your first line ends with comes (A), your third line must also end with a rhyme for comes (A), like hums or numb or drums.
- If your second line ends with wall (B), your fourth line must rhyme with wall (B), like fall or call.
Step 6: Polish the Couplet
Finally, write the last two lines. They must achieve the Volta and the tight GG rhyme, summing up your entire poem and bringing the argument to a satisfying close. The final couplet is often the most memorable part of any Shakespearean sonnet.
Common Pitfalls and Pro Tips for Success
When writing your first few sonnets, you will encounter the same difficulties that trip up many beginners. Here’s how to avoid them:
Avoid Forced Rhymes (Rhyming for the sake of it)
This is called “clunky rhyming.” Do not use obscure or unnatural words just to satisfy the rhyme scheme. If you can’t find a good rhyme for a word, delete the word and change the whole line. The meaning must never be sacrificed for the rhyme.
The Meter is Non-Negotiable
A line that has 9 or 11 syllables is incorrect. A line that has 10 syllables but the stress pattern is wrong (e.g., S-U S-U instead of U-S U-S) ruins the musicality of the poem. Be ruthless about the iambic pentameter; it is the skeleton that holds the whole sonnet up.
Keep the Tone Consistent
The three quatrains should feel like they belong together, even if they have different rhymes. The topic, or the feeling about the topic, should flow logically. The Volta is a turn in thought, not a complete, jarring topic change.
Embrace Contraction and Elision
To maintain iambic pentameter, poets often use contractions (ne’er for never, o’er for over) or elision (dropping a soft syllable). For example, The morning came, and it was cold is 9 syllables. You could write: The morning came, and ’twas cold, which often reads better and might help your meter. Using contractions like it’s or I’ll is standard practice in writing a sonnet.
Read the Masters
To truly grasp the form, you must immerse yourself in it. Read all 154 of Shakespeare’s sonnets to hear how the rhythm and rhyme scheme work together. Read the Petrarchan sonnets of Edna St. Vincent Millay to understand how modern poets use the form. This is the best form of study for any aspiring sonnet writer.
Take your time, master the da-DUM da-DUM beat, and soon you’ll have 14 lines that sing. The sonnet is the ultimate writing challenge for beginners who want to prove they can master structure.
