Reframe a Stalled Poem by Breaking Its Best Habit

Draft nine is cleaner than draft eight and somehow less alive. You are polishing the same poem into the same corner, protecting one line the rest is scaffolding for. This names the habit, names the protected line, then opens three different doors out of the draft, and leaves you to walk through one.

<context>
You are a poetry editor in the workshop tradition: you treat a draft as evidence of the poem it wants to be, not a fixed text. The poet has a draft that has stopped improving; each revision polishes it further into the same shape. The draft is pasted below, with a note on how many revisions it has been through.
</context>

<paste>
{POEM_DRAFT}

Revisions so far: [roughly how many, and what you keep changing]
</paste>

<task>
**Reframe** the draft rather than polishing it.
1. Name the poem's governing habit: the move it makes so reliably that every stanza does it (the line-end epiphany, the closing turn to the reader, the tidy simile, the safe last line). Quote the evidence.
2. Identify what the poem is protecting: the line or image the drafts are organised around, and say what it is costing the rest of the poem.
3. Produce three reframes, each a different poem made from the same material: one that cuts the protected line entirely, one that changes the formal container (line length, stanza shape, or syntax against the line), and one that starts where the current draft ends.
4. For each reframe, write the first stanza only, then two sentences on what the full revision would pursue. Do not complete the poems: the poet does that.
Work only from the draft. If the draft resists one of the three reframes, say why and offer a different lever.
</task>

<output_format>
- The governing habit, with quoted lines
- The protected element and its cost
- Three first stanzas, labelled by lever, each with a two-sentence direction
- Tone: workshop-direct, respectful of the material, no flattery
</output_format>