[Yves S L]

My most basic concept on rhyming is that one first needs an utter mastery of syntax, which amounts to [1] having a large store of syntactic patterns (riffs) so that has many alternatives in how one phrases/arranges a thought, and [2] having a large store of syntatatic patterns (riffs) in relation to specific meters, so that one has available at all times different ways of phrasing/arranging a thought inside a meter, whether one is phrasing across 1 or more lines.

The term "rhyme driven" can sometimes be a vague piece of nonsense but it often a way that someone communicates that the rhymer does not have a sufficient mastery of the resources of syntax, as in say, raw beginners and their yoda speak as they struggle and struggle to wrench a rhyme.

The next set of skills, to me, would be having an ear that can rapidly bring to mind various sound patterns, and then having a mind that can just about link any two given rhymes into some kind of a thought. Most everything I have written about can be dissected into exercises for a person to practice.

As an example that I just made up, one basic syntactic pattern (riff) that most anyone can recognize and use in iambic pentameter is a list:

Upon my desk are papers, pens, my phone,
And letters saying I love you to the bone
That I decided not to send: O you
Too often turn me darker shades of blue.

But to bring it back to what was said about Alicia's Stallings advice on rhyming across morphological categories, well, it all depends upon what effect you are looking for. Instead of giving do and do nots, I prefer to say: try it and see what effect it creates, and decide if that is the effect you want.