Reference
Acrostic poem word lists, A to Z
Concrete nouns, working verbs and line-openers for all twenty-six letters — plus specific tactics for J, Q, U, V, X and Z, the six that actually stop people.
Every acrostic gets stuck on a letter. This is the bank — concrete nouns, working verbs and line-openers for all twenty-six, chosen on one principle: nothing here is a compliment. There are no words like amazing, beautiful or caring in these lists, because a line that opens with praise almost never becomes a good line. It opens with a thing.
Use the verbs first. A line that begins with an action is already moving; a line that begins with an adjective has to be rescued later. The reasoning behind that is in the writing guide.
Before you scroll
Remember that the spine letter only has to be the first letter, not the first character. A line may open with a quotation mark, a dash or an ellipsis. And a line need not be a sentence — running a clause on from the previous line solves more hard letters than any word list will.
The six letters that actually cause trouble
In practice, only J, Q, U, V, X and Z stop people. Here is what to do about each.
J
Easier than its reputation. Just is the most useful word in the acrostic language — it can open a qualification (Just once, and she has never let it go), a defence, or a flat statement. Beyond it: months (January, July, June), jacket, jar, journey if you must, and the verbs jokes, juggles, jumps.
Q
Two reliable moves. First, Quietly as an adverb opening a clause — unobtrusive and it works with almost any subject. Second, Quotes, which is one of the best verbs available for a portrait, because what a person quotes tells you more about them than what they are like. Then question, queue, quilt, quarter past, and the place names Quebec and Quito.
U
Almost always solved with a preposition or conjunction: Under, Until, Unless, Unlike, Up at. These want the line to continue an idea from the line above, which is fine — the form permits enjambment and it usually improves the poem. If you want a stronger opening, Unpacks is a genuinely good verb and Umbrella a genuinely good object.
V
Vanishes is the best verb in the letter and nearly always usable in a portrait. Otherwise reach for places — Venice, Vermont, Valencia — or objects: van, violin, vinegar, view. Avoid very, which never earns its line.
X
There are perhaps six usable X words in English and that is fine, because you only need one. Xylophone is the classic and works better than it should — a xylophone in a loft, in a classroom, in a charity shop, is a specific and slightly comic object. X-ray is the other strong one. Xerox, Xanadu, and place names like Xi'an round it out. If none fits, use the reframe: make the X line the strangest line in the poem and let the reader enjoy watching you get out of it.
Y
Rarely a problem. You and Your open half of all Y lines and both are strong, because they shift the poem into direct address. Also: Yesterday, Years of, Yet, Yellow, and the verb Yields.
Z
Zigzags is the answer to most Z problems: concrete, in motion, faintly funny. After that, Zip as noun or verb, Zebra crossing, Zero, and the place names Zanzibar and Zurich. A Z is a gift when it falls at the start of a name — see the ZARA poem in the examples.
Doubled and repeated letters
Names with a repeated letter — ANNA, EMMA, HANNAH, WILLIAM, JOSSELYN — are more difficult than they look, because a reader hears the repetition and expects the two lines to differ. Two lines starting Always in the same poem read as a failure of imagination even when both lines are good.
Three ways to handle it:
- Change the part of speech. One A line opens with a verb, the other with a place name. The difference in grammar does the work.
- Make the repetition deliberate. Open both lines with the same word, on purpose, so it reads as refrain rather than accident. This works especially well on names with a doubled letter side by side, like ANNA.
- Change the line length sharply between the two. Repetition is far less noticeable across lines of very different shapes.
How to use a word list without sounding like one
The risk of any bank of words is that the poem ends up assembled from it. The fix is order of operations. Write your list of ten things about the subject first — a coat, a phrase they say, a route they walk — and assign those to letters. Only then come here, and only for the letters you could not fill.
Word lists are for the two or three letters that resist, not for the poem. A poem that is entirely a word list reads exactly like one.