From Billy Collins's MasterClass

Turning a Poem

Billy teaches you how to harness the imaginative flexibility of a poem, turning it in new directions to be playful with your reader.

Topics include: The Turn in “Baloney” by Louis Jenkins · The Turn in “Monday” · Being Playful With Your Reader


Billy teaches you how to harness the imaginative flexibility of a poem, turning it in new directions to be playful with your reader.

Topics include: The Turn in “Baloney” by Louis Jenkins · The Turn in “Monday” · Being Playful With Your Reader

Billy Collins

Teaches Reading and Writing Poetry

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[MUSIC PLAYING] - Something to think about when a poem is underway is where-- is whether you're going to allow the poem to just continue on one line of reasoning or one set of images, or do you want the poem to turn, swerve, bend in some unexpected direction? And I think John Ashbury said that-- something to the effect that many poems, in the course of their composition, go off in some unexpected direction, and that's really what we talk about when we talk about poetry. It's that swerving away that is the ability and the flex-- the imaginative flexibility of poetry. There are all kinds of turns that you can make. They can be chronological turns, you can turn to a different time. You can, kind of-- meanwhile, back at the ranch kind of thing. You can change your addressee, you can suddenly start talking to someone. You haven't-- you've been talking to the reader, but then you can say, but George, and you can-- Wordsworth does that to his sister Dorothy and his intern Abby. Suddenly, she's there. She wasn't there before, but then he starts talking to her. [MUSIC PLAYING] So I'd like to read an example of a poem with a rather radical turn to it, and it's a poem by Lewis Jenkins and it's called "Baloney." "There's a young couple in the parking lot, kissing. Not just kissing, they look as though they might eat each other up, kissing, nibbling, biting, mouths wide open, play fighting like young dogs, wrapped around each other like snakes. I remember that, sort of, that hunger, that passionate intensity. And I get a kind of nostalgic craving for it, in the way that I get a craving, occasionally, for the food of my childhood. Baloney on white bread, for instance: one slice of white bread with mustard or Miracle Whip or ketchup-- not ketchup, one has to draw the line somewhere-- and one slice of baloney. It had a nice symmetry to it, the circle of baloney on the rectangle of bread. Then you folded the bread and baloney in the middle and took a bite out of the very center of the folded side. When you unfolded the sandwich you had a hole, a circle in the center of the bread and baloney frame, a window, a porthole from which you could get a new view of the world." So that's-- you have to really hold on to your seat belt when you take that corner, which takes him from this scene of erotic intensity to the transitional where it's kind of passion. I remember that kind of like the passion of the food of my childhood. But then he goes into this very boyhood description of how to play with your food, basically. And then at the end of it, it becomes a porthole, a window or frame, a lens, in a way-- he doesn't say that, but-- and then it becomes a way of looking at the world. So it's a kind of poem that rises to a level of epistemology. This is a way of a boy looks through the world of this new baloney lens. So I suppose it's a poem where he retreats somehow, or at least this would be the psychoanalysis of the poem, that he retreats so...

Let imagination lead the way

Known for his wit and wisdom, former U.S. Poet Laureate Billy Collins is one of America’s most beloved contemporary poets. In his MasterClass, Billy teaches you to appreciate the emotional pull of poetry. Learn his approach to exploring subjects, incorporating humor, and finding your voice. Discover the profound in the everyday, and let poetry lead you to the unexpected.


Students give MasterClass an average rating of 4.7 out of 5 stars.

Well, I've just started to write a tons of poems per day. I've tried verse libre))And I'm happy about it.

Collins offers an accessible path to reading and writing poetry. The task seems doable when it's broken down into friendly pieces. The class has given me ideas about how to approach poetry writing as well as channels through which I can teach poetry writing to high school students.

This Masterclass has equipped me with alot of new techniques and methods that are really useful when writing poetry. It has also given me more ways of approaching and reading the poetry of others.

Like the comments about knowing when a poem is about to wind itself up.


Maureen W.

I don't know if even Bily C has the magic to turn me into a poet. He gets credit, however, for at least saving my dignity when the neighbors, cleaning out my house after my funeral, discover my work. They'll nod, cluck their tongues, say, "Not too horrible. Where'd she learn her craft?" Notice? They'll not say, "Art". Not even Billy C has the magic to make me brilliant.


Wonderful examples of surprise endings chosen. I’d like even more specific advising on the turn and surprise endings. I see them. Love them. But have a hard time producing them. Anyone else?

Kasy L.

Another great lesson with beautiful examples! I love poems that have surprising swerves and twists.

Thomas S.

I think I need to learn to trust my own associations in making "turns" in poetry. I am just a beginner. I am appreciating how Billy does this in his own poetry.

Frances C.

It brought exceptional clarity about the writing process, which often starts in one room and ends in a completely different hour or on a different street. The poem, which started out as a letter, turns into a discussion of the "knowledge" that poetry has about how time-bound we are. Lovely!

Warren D.

The lone angel is a lovely ending to his poem, unexpected and charming. I had not read that poem before and am so glad to have heard it for the first time read by Billy Collins.

John S.

I enjoyed Collins' discussion of what poet's do: they watch from windows and observe. He encourages us to be both playful and sincere as writers, keeping our readers guessing at times, surprising them with "turns" and surprises. Poets, unlike writers of drama or nonfiction, have more freedom which he encourages us to value and use.

Townsend S.

The analogy used in describing the difference(s) between novelists and playwrights (sneaking a look in) and poets (boldly gazing out) is terrific.

Jody L.

Loved the examples. I understand when Billy says his poem, "Monday," takes an inexplicable turn at the end, "even to me." Sometimes the poet can't explain what's happened in a poem.

Martina N.

The role of observer, of trying both to see and say what is happening, is the useful background to the turn you give us to the rock wall, to the impenetrable solid stone, stone-walling us from seeing what is happening or hearing, or being caught in the throat, unable to speak it. Very, very interesting, thanks.