WORD PALETTING 3
This is another poetry-writing method that I came up with, not long after my craniotomy.
Due to the weird procedural similarity it bears to the previous word paletting methods I came up with, I wasn’t able to recognize that it was/is a third, distinct word paletting process, at all.
Mind you, once again, I was thinking that I was using the “objective, correlative” method for writing poetry. I used to ponder why I would find lists of hyphens, followed by words, in the pages of my marbleized notebooks I used as “sourcebooks”.
I still have several of the sourcebooks, presently, and can easily find the lists, words and hyphens. (“hee-haw!”, brays the donkey who ruminates on the concept of a carrot, while chewing on a carrot!)
Yet, I could only ever remember well enough to recognize the lists as being parts of different poems I had created and wasn’t ever able to distinguish the parts as being connected to specific poems’ methods for construction.
Maybe, its all in my mind that I have been able to draw parallels from the word paletting methods for poetry’s creation, to the design and creation of buildings.
Essentially, this particular method allows a writer, while he or she is producing his or her palette, to create a “cherry-on-top-of-the-ice-cream-sundae” turn-o-phrase, to punctuate the communication of the word paletted product that he or she is hell-bent on producing.
When producing the palette of this method, what you are doing, I’ve realized, is producing a usable list of slick-sounding final communication lines you can use to punctuate your poem.
For the poem I’m using to model this method, the final line is: “the llamas pajamas were covered w/commas”.
Now, the weird thing that I’ve come to realize is that this poetry writing method, at least, by me, can be very neatly connected to the “art” of creating rhetoric.
In reality, this is due to the fact that, as a strategy, Word Paletting 3 lets a writer focus on the production of a list of “turn’o’-phrase” phrases, that he or she can use to end or punctuate his or her written product.
That is what, while still in the rabbithole, I didn’t realize, due to the my short-term memory having been so amazingly damaged.
However, not that long ago, when my wife and I were on a mini-vacation, I, accidentally, stumbled, for the first time in many years, into the same, damned rabbithole, and poetry emerged!
a(p)positive llama trek
cotton candies of the
andes, llamas learn to
find their way & never
stray to catch some z’s(,)
w/in the breeze(,); to
fuel a trek & rest a speck
or pause, mid -stream,
w/o a care of what
they wear; w/in midair,
they’re never bare:
“the llamas’ pajamas
are covered w/ commas”
(Paletted turn o’ phrase)
In 1987, I sustained my final A.V.M. -contingent brain stroke and, at the time, I was enrolled in my first year of creative writing.
What follows is a third method I used to create communication, when I was scarcely able to think; in the subsequent year of high school, it was extremely difficult for me to keep a thought, intact, in my mind for very long, at all.
To complicate things, I, for a while, suffered the tortuous experience of verbal aphasia.
This entailed me, suddenly being able to have my mind synthesize thoughts again, using the occurrence of one event, in conjunction with the occurrence of a subsequent event. (Yes, at first, I was that messed up.)
However, the dessert that was served to me, next: the terra meringue, was a giant slab of memory deficit.
Accordingly, when I was able to use my own devices to produce communication, if I was able to remember where it was that I had scrawled it, verbal aphasia, likely, prevented me from vocalizing what I had communicated.
Of course, my newly-acquired short-term-memory-deficit likely, many times, made me forget that I had produced anything, anyway.
That is why it has taken me 26 years to communicate this. Dessert is served.
The method, used to write this, involved the creation of a palette that was comprised of lines that each contained the word, llama.
The one line that was included in the poem is the last line, “the llamas pajamas are covered w/commas”.
I came to the realization, while working, especially on the university level (and on the community college level) that, at least for LD students, the act of writing rhetoric was slightly counterproductive, due to the fact that rhetoric is really limited in its applicability to real-word writing.
Then, I remembered this word paletting method and went back and reviewed several billion poems I had written and was surprised to locate at least half a trillion more palettes in my collection of age-old marbelized notebooks than finished or even half-finished poems.
Why hadn’t I written many more poems than I, seemingly, intended to write? The answer is and was that this Word Paletting process is usefully able to create amazingly-refined turns of phrase/to supercharge an individual’s Introduction /Concluding Statement Craft.
How it does this is, again, through the act of creating THE BEST WORDS, IN THEIR BEST ORDER (Coleridge), when the palette, itself is constructed!
a(p)positive llama trek
cotton candies (alliteration)
of the andes, (rhyme)
llamas learn to find (alliter.)
their way & never stray (rhyt.)
to catch some z’s(,) (rhyme)
w/in the breeze(,); (rhyme)
to fuel a trek (rhyme)
& rest a speck (rhyme)
or pause, mid (hyph.)(abb.)
-stream, w/o (hyph.)(abb.)
a care of what (perf. rhyme)
they wear, (per. rhyme)
w/in midair, (per.rhyme)
they’re never bare(per.rhyme)
“the llamas’ pajamas are
covered w/ commas”
(Paletted turn o’ phrase)
Copyright, 2013, all rights reserved.
To write this, I utilized one of a number of poetry writing methods I concocted, following my successful craniotomy, using what, once again, what I previously wrongfully believed was me, writing “OBJECTIVE, CORRELATIVE POETRY.”
In reality, I composed my master’s thesis on a writing strategy that is very loosely connected to the process I used to write a(p)positive llama trek.
The final seven words, “the llamas pajamas are covered w/commas” is part of the word palette by which this poem was fuelled.
The palette I compiled consists of several similar “turns of phrases”. (THE PALETTE FOR THIS POEM APPEARS, BELOW.)
As well, as noted, above, there are five appositives, included in the poem. Thereby, it can be seen how the poem’s title was arrived at and the pun of “a positive” and “appositive” can be released to have greater significance in and to the poem.
The placement of the paletted element is the final statement, “the llamas’ pajamas/ are covered w/ commas”; and, the pun of the poem is inherent in the fact that our llama trekking excursion was a quite positive experience.
As well, the poem contains several appos-itives. The poem’s palette was comprised of several statements, including the final two lines, “the llamas pajamas/ are covered w/ commas”.
Therefore, I can reuse he palette to create subsequent, connected poems, as well. This can be connected to the acts of a columnist’s act of continuing a line of inquiry.
However, a columnist uses words in comprehensible order. Poetry is the best words, in their best order.
A learning disabled writer who uses Word Paletting 3 prepares himself or herself for applied writing tasks, by setting the expec-tation that the wording of his or her writing needs to be the best words, in their best order.
This way, he or she experiences great ease when having to create denotative, non-creative written communication.
The fact is, my wife and I did stay at a bed and breakfast, not that long ago, called The Applewood Inn, whereat exist many llamas. They do not wear pajamas, at all.
Below, is another work-in-progress that was spawned from the same palette.
llamas, in commas,
all, run to the hills & yearn for their
mammas, @ least, for their fleece; if
not, too, for their pills;
as, sought for their coats,
in short(s), their bermudas,
the llamas, in commas,
don’t yearn to return
to their mountain -ous
mamas; the llamas amass,
as llamas, en masse, proceed
to succeed to just feed &
1st, do no harm-a
the llamas’ pajamas were covered in commas
(have) run to the hills
The main difference between this third iteration of the Word Paletting process and the previous two is the fact that the paletted words/lines are intended to be utilized as a more substantial unit of poetic communication.
This is, as opposed to, in Word Paletting 1 or Word Paletting 2, where the palette is used to build much more of the actual wording of the poem that is being written.
I think this is why it took me so much longer to reckon the fact that there existed this third, contiguous writing process. Word Paletting 3, easily, could have been lost to the ether and metacognitive soup that swirls around in my brain.
I have come to the realization that, in connection to the real world writing process, it could offered that, for learning disabled individuals, word paletting 3 can be used as a means to practice coming up with a powerful final statement for a poem.
(The Llama’s Pajamas Were Covered With Commas)
Using the method and the word paletting process to arrive at powerful “last lines” for one’s work enables a person to avoid fizzling out in the later/last stages of his or her creative writing process.
Also, using the same sentiment for one’s denotative prose writing, it can be offered that one needs to use as much high-powered communication in the opening stages, as is used in the final, clinching words.
Using this version of Word Paletting easily facilitates learning disabled individuals’ abilities to knock out a crucial part of the communicative writing process, using “the best words, in their best order”.
Then, once Word Paletting 3 has been utilized, over and over, a writer can quite readily create effective introductory communication, using non-poetic, factual wording to introduce his or her real-world written or spoken proposal, with the utmost of confidence that the culminating part of the finished product will be amazingly strong, compelling and clear.
The reality is that many students have really good thoughts that course through their heads.
Only, when they are called upon to show their work or to reveal the process that lead them to their finished product(s), they are lead to refrain from communicating, due to their second language learner status, their disability, whatever.
Using Word Paletting 3 to really nail the “PUNCH LINE” of their written work, before they go about writing the “more mundane” portion(s) of what is written, can be conveyed to students as representing a precautionary hidden nuclear arsenal.
The fact is that many poems, much less prose fiction “pieces” or prose factual communications can seem to be quite flat, altogether.
If you use Word Paletting 3, first, and have, either, a more dynamic introduction, conclusion or both intro and conclusion established, before you get all tired or pinched for time, you have a better chance of faring better on poetically written assignments.
This leads to mapping the same strategy onto your act of writing amazingly strong intro’s and conclusions, first, when you are writing prose fiction, as well.
Finally, this tactic probably should be used when a person is writing denotative prose, as well.
Essentially, the words on the palette that I did not use in the poem, a(p)positive llama trek, can be retained and re-used to fuel future poems.
As well, the same paletted phrase can be used to fuel another poem or set of poems.
The paletted term can be repeated in subsequent poems; it can be used as the first line of a subsequent poem, as the last line of a subsequent poem, et cetera.
Truthfully, the fact that I used very few of the actual terms from the palettes that I created, when using this system made it extremely hard for me to recognize what this writing method was until many years after I started using it, to begin to restore my communicative faculties.
This was in the first stages of my life, following the acquisition of my cerebral hemorrhage-contingent short-term-memory-deficit; that’s why it took so long for me to flesh it out.