There's a particular quality to the silence that follows the last note of a song—a pregnant pause that seems
to hold all the music that came before it. As poets, we spend so much time focusing on the words we put on
the page that we sometimes forget about the spaces between them, the pauses that give our verses room
to breathe.
In my early years of writing, I filled every line with words, afraid that silence meant emptiness. I've since learned that silence is not the absence of meaning—it's meaning distilled to its essence. The pause between stanzas can carry as much weight as the stanzas themselves.
Consider this: when we speak, our pauses reveal as much about our thoughts as our words do. The hesitation before a difficult truth, the breath we take before saying "I love you," the silence that follows bad news—these moments of quiet are where the real communication happens.
Our modern world seems designed to eliminate silence. We have notifications, background music, and the constant hum of traffic and technology. But as writers, we must cultivate the ability to hear the quiet beneath the noise.
I've developed a practice I call "silence mapping"—sitting in different environments and identifying all the layers of sound until I can hear the silence that exists between them. In a busy café, there's the silence between conversations. In a forest, there's the silence between bird calls. Even in our own minds, there's the silence between thoughts.
From a craft perspective, silence in poetry manifests in several ways:
The art of listening to silence begins with making space for it in our daily lives. I start each morning with ten minutes of what I call "active silence"—not meditation exactly, but a conscious practice of listening to what's beneath the surface sounds of my environment.
This practice has transformed not only my writing but my entire relationship with the world around me. I notice the pause in my daughter's voice when she's deciding whether to tell me something difficult. I hear the silence in my husband's breathing when he's deeply asleep. I recognize the quality of quiet that comes just before dawn.
When we write with an awareness of silence, we invite our readers into a more intimate relationship with our work. We're asking them not just to read our words, but to feel the spaces between them. We're trusting them to bring their own silence to meet ours.
This is perhaps the most vulnerable aspect of writing—offering not just our words, but our pauses, our hesitations, our moments of not knowing what to say next.
The next time you sit down to write, try this: after you've written your first draft, read it aloud and pay attention to where you naturally pause. Those pauses are trying to tell you something about the rhythm and meaning of your piece. Honor them. Give them space on the page.
Remember that silence is not empty space to be filled, but sacred space to be honored. In learning to listen to silence, we learn to hear the deeper music of language itself.
What silences have you been ignoring in your own writing?
There’s a quiet language spoken by the earth—one that doesn’t use words, but rhythm. A conversation unfolding in roots and rivers, in the way birds migrate and flowers wilt, in how the sky changes tone at dusk. It’s a language we once knew instinctively, long before calendars and clocks, back when time was measured in harvests and shadows.
There's a particular quality to the silence that follows the last note of a song—a pregnant pause that seems to hold all the music that came before it. As poets, we spend so much time focusing on the words we put on the page that we sometimes forget about the spaces between them, the pauses that give our verses room to breathe.
There is a quiet kind of alchemy that exists in the world. Not the sort that turns lead into gold or conjures storms from spells, but a subtler, more intimate kind—one that transforms the ordinary into something luminous, simply by the way we look at it. This is the kind of magic born from attention, presence, and wonder.
At first glance, a line break in a poem might seem like a mere structural necessity—a place to pause, to carry the eye to the next line, to make the poem fit the page. But anyone who has ever written or read poetry with intention knows: the line break is not a pause. It is a choice . And more than that, it is an instrument—a subtle, powerful tool capable of shifting everything: tone, pace, emotion, and even meaning.
There’s a quiet language spoken by the earth—one that doesn’t use words, but rhythm. A conversation unfolding in roots and rivers, in the way birds migrate and flowers wilt, in how the sky changes tone at dusk. It’s a language we once knew instinctively, long before calendars and clocks, back when time was measured in harvests and shadows.