I’ve only been on the board a relatively short amount of time, but it seems there is no shortage of opinions. And I mean that in the most loving way possible, 
My brother has been doing a lot of writing lately and I encouraged him to start a blog. I think he’s talented, but I’d love to hear other opinions. If you want to check it out, go to http://lifeongraphpaper.blogspot.com
Here is a sample of his writing that may not be up on the blog yet…
I’ve been intrigued by the form of a sonnet for awhile. I got sucked into some of John Donne’s Holy Sonnets many years ago. (I recommend Holy Sonnet number XIV for it’s passion, or Holy Sonnet number IX, for it’s use of the phrase ‘lecherous goats’) Shakespeare certainly added to the form, along with many others. For those of you needing a brief education, I’ll give you the rudiments of what I’ve picked up:
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Sonnets are written in iambic pentameter. An Iamb is a ‘metrical foot’ which consists of an unstressed syllable followed by a stressed one. (da-DA) Pentameter refers to the fact that there are five of these iambs per line–thus ten syllables. An example of iambic pentameter would be “Shall I compare thee to a summer’s day?” read with stress on the even numbered syllables, for the most part. da-DA da-DA da-DA da-DA da-DA.
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Sonnets consist of an octet followed by a sextet. There are variations, but typically the octet rhyming scheme is ABAB CDCD. The purpose of the octet is to propose a problem, or a situation, or tension, which the sextet will resolve, or complete. The sextet is usually EF EF GG.
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Sonnets are usually mushy, and written by some love-struck fool. You have now officially been warned.
These rules are variable to some extent–the rhyming scheme can vary, the content is not ALWAYS based on love, and most especially, the iambic pentameter can be deviated from to the extent that you are not a purist or an expert linguist. I do not claim to be either a purist or an expert linguist, but have maintained these rules to the extent that my limited talent allows, and have crafted (or engineered, rather, as my education dictates) the following. My iambs are not all well formed, by I have meticulously counted out ten syllables per line. The imagery in the first stanza seems trite, but I was proud of the subtle nod to Shakespeare (of the greatest sonnet writers) in the second, and of the third stanza in general. Let me know what you think.
I have tentatively titled it “The L-Bomb”
It is frustrating when I lack the word
To verbalize what I can but emote.
To avoid the obvious seems absurd,
When by Cupid’s arrow have I been smote.
What awkwardly comes is, “I think you’re great.”
Without saying ‘love’, the sentiment’s lost.
Lacking alternates to communicate
On days I feel like a lover star-cross’d.
I still withhold, for fear it might cheapen
This ultimate word–there’s nothing beyond.
As each sun sets, my emotions deepen.
Thus ‘Love’ must be saved to label the dawn.
But soon I’ll view this logic and flout it.
Love’s growing tide will force me to shout it.