Here is a list of features in the random deck, and you can see a feature at random to the right:

CONTENT

• season reference: Classical Japanese haiku always included a season reference, direct or indirect.

• time reference: As they ground themselves in the moment, haiku often include a reference to the time of day.

• weather, wind: Being grounded in nature, haiku often make a reference to the weather, winds, etc.

• sun, clouds; moon, stars: If it is daytime, you can often find references to the sun or clouds. If it is nightime, you might find the moon or stars.

• plant life: Flowers and all kinds of plant life often appear in haiku.

• insect life: Insects of all kinds can also be found in haiku.

• bird life: You will often see birds and also hear their songs in haiku.

• animal life: There are many non-human animals who are found in haiku.

• solitude: Of course, the haiku might be a solitary place, the poet all alone.

• an everybody object: All kinds of everyday objects can find their way into a haiku.

• something very small: As a small verse form, haiku often features something very tiny: a tiny creature, a tiny object, etc.

• color: Some haiku use references to color to paint a picture.

• sensation: smell, taste, touch: Haiku might contain references to sensations beyond sight.

• sound, or silence: Haiku might invoke a sound, or the silence of no sound at all.

• meta-haiku (haiku about haiku): There are a surprising number of haiku that make reference to the writing of haiku; some English haiku are also responses to especially famous haiku from the classical Japanese tradition.

FORM

• 5-7-5 syllables: Some English haiku imitate the 5-7-5 pattern of classical Japanese haiku.

• 12 syllables or fewer: Other English haiku follow different patterns for a total of 12 syllables or fewer.

• 2-3-2 beats: Blyth and others have advocated for counting beats per line: 2 beats, 3 beats, 2 beats.

• 3 lines, 2nd line longer than the others: In a 3-line haiku, the 2nd line is often longer than the 1st and 3rd lines.

• 3 lines, break after 1 line: In a 3-line haiku, there might be a break (punctuated or unpunctuated) after the 1st line.

• 3 lines, break after 2 line: In a 3-line haiku, there might be a break (punctuated or unpunctuated) after the 2nd line.

• em dash — or ellipses...: Haiku often use creative punctuation like an em dash or ellipses...

• juxtaposition: Does the haiku invoke two distinct images or ideas, juxtaposing them?

• no capitalization: Many English haiku use no capitalization, which means lowercase "i" for the pronoun too!

• no punctuation: Many English haiku use no punctuation at all.

• no verb: Some haiku contain no verb (and remember: participles, like "rising" or "fallen," are adjectives, not verbs).

• present tense: If the haiku does have a verb, it is probably going to be in the present tense.

MOOD

• openness to whatever arises: Many haiku express an openness to all experience, whatever arises in the moment.

• mindfulness: There is a kind of haiku mindfulness, a deep awareness of the present moment.

• impermanence: With awareness of the present moment also comes awareness that the present moment is passing away; this is impermanence.

• compassion / empathy / tenderness: Accompany that sense of impermanence is compassion, an empathy and tenderness for the passing away of the world.

• humor: Humor also finds its place in haiku, both humorous content and also word-play.

• mono no aware (bittersweet, wistful sadness): Mono no aware, or just aware, refers to the special quality of sadness found in many haiku.

• sabi (a sense of time passing, profundity in stillness): The term sabi is often combined with the term wabi in the idea of wabi-sabi.

• wabi (simple, ascetic beauty found even in broken things): The term wabi is often combined with the term sabi in the idea of wabi-sabi.

• wabi-sabi (finding beauty in imperfection and impermanence): A blending of wabi and sabi into a combined concept.

• karumi (lightness, clarity, ease): The famous haiku poet Basho especially prized this quality in haiku.

• yugen (mysterious, subtle, deep beauty): Yugen was originally a Buddhist term that has become important in Japanese aesthetics generally, referring to a sublime, mysterious type of beauty.

• mu (empty space that bestows meaning): Mu is a concept from Zen Buddhism that has special relevance to haiku. It is the the essential pause, a negative space or emptiness where meaning can emerge.

• satori (insight into the true nature of things): Satori is another Buddhist concept with special relevance to haiku; many haiku poems seek to share a satori-like experience with the reader.