[R.A. Briggs]

Favorites: Onegin stanzas, because the groupings are flexible, the masculine and feminine rhymes provide variety, and the tetrameter is conversational. Ghazals, because they provide an opportunity to explore many facets of the same word.

Disfavorites: Terzanelles, because I can't write a decent one. (I have a friend who does wonders with them.) Pantoums, because it's so hard to make them say anything, ever. Never could get the hang of quiet little syllabic poems either, like haiku and tanka. (Yeah, I guess that's not really a rhyme scheme.)

[Mary Meriam]

But Bill, you obviously haven't read my AABB poem.
Janice, I read the essay collection thanks to my teensy tiny local library through interlibrary loan.
Ra, I was going to say that pantoums are my least favorite, but then I wondered if they have to rhyme - can't remember - avoiding pantoums.

[Ann Drysdale]

I must say it's rather dispiriting to realise that much of what one writes is so hateful to others.

Bleach, anyone? OK - please yourselves. All the more for me.

[Janice D. Soderling]

Shall I assume that all these "favorites" and "non-favorites" apply regardless of the content?

Or have we misunderstood the question and are replying with what we can do best or not do well at all?

Ann, what is the bleach for? To drink? Isn't there a better way to say goodbye cruel world?

[R. Nemo Hill]

I believe the bleach is to return the page to it's original lovely white, to erase all those nasty black marks called letters.

Nemo

[Janice D. Soderling]

Oh. Dumb is my middle name.

[John Whitworth]

Octosyllabic couplets. They look so artless but they are very difficult. Write like Andrew Marvell.

[Andrew Mandelbaum]

Originally Posted by John Whitworth

Octosyllabic couplets. They look so artless but they are very difficult. Write like Andrew Marvell.

Got a short sample hanging about?

[Janice D. Soderling]

Had we but world enough, and time,
This coyness, lady, were no crime.

But John says that is the most difficult one, which is interesting, but isn't an answer to the question:

What are your most and least preferred rhyme schemes?

[stephenspower]

Of course one can't wedge a poem into any old form, at least not well, and form can help develop meaning (one reason I like it), but what's wrong with having a go-to form? If I have a little story to tell or experience to explore, for instance, a sonnet is perfect.

I've never read Eugene Onegin, but that stanza is a revelation. What a challenge. Now I understand what's going on formally with "The Golden Gate"--and I have a good excuse to finally read both. Thanks!

As for posting the stuff I'm stuck on, it wouldn't be appropriate here as an example and it's not worth critiquing at this point.