How to Write a Haiku:
Understand the way haiku is made. This can best be done by reading as many haiku as you can. Be aware that translations of the Old Masters of Japan are not written in proper English haiku, and many translators are not poets so their versions may show their lack of understanding of the haiku in the English language.
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What you feel should be in a haiku. When you see or notice something that makes you want to say to others -"Hey, look at that!"-include that in a haiku. Many people go for walks just to find new inspiration for their poetry.
Many haiku seem to focus on nature, but what they are really focusing on is a seasonal reference (not all of which are necessarily about nature). Japanese poets use a "saijiki" or season word almanac to check the seasonal association for key words that they might use in a haiku (thus the haiku is a seasonal poem, and often about nature. But it does not have to be about nature if the seasonal reference is about a human activity). The season is important for coming up with words to use in a haiku, because the poem has so few words, simple phrases such as "cherry blossoms" or "falling leaves" can create lush scenes, yet still reflect the feeling of the verse. Moreover, season words also invoke other poems that use the same season word, making the poem part of a rich historical tapestry through allusive variation. In Japanese, the "kigo" or season word was generally understood; "autumn breeze" might be known to express loneliness and the coming of the dark winter season.
o Winter usually makes us think of burden, cold, sadness, hunger, tranquility, death or peace. Ideas about winter can be invited with words like "snow," "ice," "dead tree," "leafless," etc.
o Summer brings about feelings of warmth, vibrancy, love, anger, vigor, lightness, action. General summer phrases include references to the sky, beaches, heat, and romance.
o Autumn brings to mind a very wide range of ideas: decay, belief in the supernatural, jealousy, saying goodbye, loss, regret, and mystery to name a few. Falling leaves, shadows, and autumn colors are common implementations.
o Spring, like summer, can make one think of beauty, but it is usually more a sense of infatuation. Also common are themes like innocence, youth, passion, and fickleness. Blossoms, new plants, or warm rains can imply spring. For more information on seasons, go to the link listed below.
Seasonal references can also include human activities, and Japanese saijikis contain many such listings. Be aware that some references to human activities, such as Christmas, are effective season words, but require a geographical limitation; while Christmas is a winter season word in the northern hemisphere, it's a summer reference in the southern hemisphere.
Add a contrast or comparison. Reading most haiku, you'll notice they either present one idea for the first two lines and then switch quickly to something else or do the same with the first line and last two. A Japanese haiku achieves this shift with what is called a "kireji" or cutting word, which cuts the poem into two parts. In English, it is essential for nearly every haiku to have this two-part juxtapositional structure. The idea is to create a leap between the two parts, and to create an intuitive realization from what has been called an "internal comparison." These two parts sometimes create a contrast, sometime a comparison. Creating this two-part structure effectively can be the hardest part of writing a haiku, because it can be very difficult to avoid too obvious a connection between the two parts, yet also avoid too great a distance between them that , although this is not necessary provided that the grammar clearly indicates that a shift has occurred.
Use primarily objective sensory description. Haiku are based on the five senses. They are about things you can experience, not your interpretation or analysis of those things. To do this effectively, it is good to rely on sensory description, and to use mostly objective rather than subjective words.
Like any other art, haiku takes practice. Basho said that each haiku should be a thousand times on the tongue. It is important to distinguish between pseudo-haiku that says whatever the author thinks in a 5-7-5 syllable pattern and literary haiku that adheres to the use of season words, a two-part juxtapositional structure, and primarily objective sensory imagery.
I hope it will be helpful for all of you who are planning to write their own Haiku.