Public: Word Paletting 4
February 22, 2014, by mattramzzz
This is a fourth Word Paletting method that I used when my brain was still healing: both, before and after I had my first ventricular shunt replaced. I didn’t even realize that it was a fourth writing ‘strategy’, at all.
That’s how much of a jackass my craniotomy or the infusion of meningitis or my monster-behemoth of a stroke caused me to be!
Personally, I attribute my ability to recall it, as a fourth, distinct writing tactic, to my use of voice recognition software.
In reality, an unbelievable amount of blurry generality has become vividly clear, compliments of my use of these writing methods. (I’ve actually recalled a 5th, a 6th and a 7th Word Paletting method, by the way.)(Stop the presses! I’ve realized that there are at least 9 Word Paletting methods!)
I highly recommend Voice Recognition Software’s use to any Brain AVM Survivor who suffers with memory issues and to any brain injury victim who suffers from memory weakness.
I, for one, have or, maybe had, now, a profound short-term-memory deficit: a subtle and elusive one.
Like an endangered nocturnal species that estivates, my S.T.M.D. hid behind trees, left no visible trail and never left any evidence of its diet; yet, quite frequently, it abandoned me, in The Wasteland, to my own devices, sometimes, without a clue as to where my devices were and, sometimes, what’s worse, without a clue that devices, as a whole, indeed, existed. I was at the mercy of my messed up memory!
Anyway, this method, that, to me, seems somewhat like all of the other three Word Paletting methods that I’ve previously posted, I know is not exactly the same as the other four methods, based on how WP4 calls upon its user to create the palette and based on the implementation of the paletted terms into the actual poem, itself.
Step 1, Use a single word, in this case ORCA(s); this is the creation of your palette.
It makes sense to me that a word that is too frequently used, like ”the” or “a(n)”, would dilute the effective-ness of this tactic, making it possible for a writer to become stumped and discouraged.
This is because the word that is used, if it phas too many combinations in commonplace language, will cause the palette to be too overwhelmingly extensive.
At least, for me, when I was newly having emerged to the “public”, I produced 8 trillion palettes that never panned out, based on way too many terms on them.
Comprehensive Palette: Graphic depiction of the beginning of the pared down palette:
(or castration) (orcas straitshun)
(orca straw) (orchestra)
(orcas 2 pause) (or cause to pause)
(orcas for alarm) (orcause 4 alarm)
(orcas to stop) (or cause 2 stop)
While generating this palette, recognized the plausible setting /settings for “Orcas, cloaked, in CAPs”.
However, the fact is that “CAPs”, is, at least, a potential triple-entendre; in that, “Caps, simultaneously, refers to “CAPITAL LETTERS”, “WHITE CAPS” (as in the Puget Sound/Pacific Ocean), and “CAPs&GOWNs”.
That is why, particularly for brain injured and/or learning disabled individuals, writing poetry acts to lessen the burden that will be placed upon them, when they are having to write fact-based prose.
w/in the sound(,)
are seeing white w/
rage in spite of how
they sea the strait
perceives their traits,
as black & white, &
view the sea empir(e)
-ically or (-)cause
the pod to orchestrate
a sirens song that whales
aloud & lingers long
enough, at dawn, to reckon
Juan de fuchas plight to set the
orcas strait, in light of how the
martyrs lust for fins could
call or ‘ca(u)s(e), there,
w(h)a[i]l(e)s to fall
Technically, the first iteration of this poem was a chaotic-version sonnet; however, it, most likely, will not end up that way.
02w/in the sound(,) are seeing
03white w/rage in spite of how
04they sea the strait percieves
05their traits, as black & white,
06& view the sea empirically
07or cause the pod to orches’
08trate a sirens song that lin-
09gers long enough, @ dawn,
10to reckon juan de fuchas
11plight to set the orcas strait
12(,)in light of how the martyrs
13lust 4 fins could call or
14cause, there,wails to fall
Right here is a truly useful tool for creating and/or sustaining ambiguity. For each of the uses of the paletted terms, above, what the writer is doing is, actually, accomplishing two things, simultaneously.
This is so, in that, while infusing plausible enigma into his or her writing, he or she is, also, honing his or her ability to go beyond the denotative thought process and push his or her creativity while, possibly, not even realizing that what might be in the process of being created is something even more figurative than is or was originally suspected.
Also, by using the palette, a writer, like I did, above, doesn’t need to focus upon and scrutinize the setting of his or her written product.
Take, for example, “shed their fins”, in the poem, balto story, wherein, the communication suggests, simultaneously, the acts of “mammals” sloughing off their actual flippers, and vicariously, spending five dollar bills, as in “fins” or “fiskies” or “fivers”.
Too, it could be suggesting their storing away their fins (in a “shed”).
on dolphin st
have shed their fins
& taken to
to earn a wage
& learn a trade
behind(,) their sea
& fly/be free,
to lead a life
of corporate gain,
At times, metaphorically, to me, at least, the finessing of the words and images, into the best words, in their best order, gets a little bit chaotic, on the page.
However, eventually, you should be able to get the word parts assembled into a nice, neat worded product.
(note to reader: I purposely use non-conventional punctuation and/or lack of punctuation, as a way to compound the enigma and potential added meaning to my words.)
Step 2, Make notes of words, phrases and complete thoughts that include the fulcrum term. (orcas in the sea, orcas on the coast, orcas on the mind)
In this case, to continue the image of a pod of whales, on the day of their high school or college graduation, the word, “sound”, refers, potentially, to the Puget Sound; however, skipping down one line, what can be done is something like, “their mothers’ voice”.
Step 3, Tie the fulcrum term to other words and phrases, using ingenuity; such as, “orcas’ strait”, to allow you to really pun it up; in that, “orchestrate leads to orcas’ strait, as in the Straits of Juan de Fucha, wherein, in reality, orcas do exist and do wait.
Step 4, Tinker with assonant turns ‘o’ phrase.
-(bringing order to the orcas),
-(Port Orchard), a city, North of Seattle, WA.
The word, “orca”, orc(h)a(rd), can be seen, for example, adding increased dimension to the inherent assonance.
Step 5, Pun it up.
a. (“orcas’ strait”, instead of
or “orca’s strait, etc.)
b. “orpods, trasetting orcas
c. Port Orchard is the apple of
the orcas’ eyes)
d. “set the orca’s
e. “orcas/strate symphony
f. (oar castration/cut the
blade off the oars/cause
them to not swim straight,
w/in the strait)
g. (Strait jacket/black & white)
h. (Orcas’ strait jacket)
i. (The juxtaposition of a pun
to its non-pun, denotative
j. (orchestrate the orcas’ strait)
k. (spats and tails/spats & tales)
l. (the seas/or cause, as in,
or cause the world to wait)
Here is where the writer, in using this version of Word Paletting, can intensify the prone ability to write amazingly well, by virtue of the fact that connecting all or, at least, some of these “disparate” parts of lang-uage, intent upon homogenizing them into a single piece of communication, forces the writer to focus on the beauty/effect of the product and, in the end stages, to assure that no part of the poem has been left unrefined.
Step 6, Add consonance to your palette.
Step 7, Use references to historic
Juan de Fuca orca’s strait (Orchestrate)
This an be tied this
to the idea of a strait jacket.
(*This is an example of how notes are
made to remind a writer of his or her
intended creative actions)
Step 8, Perform Rock Tumbling; this is when you really scrutinize the way the wording of your poem can be changed to make it flow better.
Taking out modal verbs, where it is possible; removing your incidental uses of parallel structure if it causes the flow of your poem’s wording to be cumbersome to be read: aloud/silently, for example.
This is performed to assure that your poem is the best words, in their best order.
Step 9, Add Tinsel & Gingerbread.
Step 10, Perform the wrap-up.
-bringing order to the Orcas
-bearing weight to set the straight,
in narrows, need
-bringing order to the Orcas
(pods swim in formation)
-the shores of orca
-the orcas‘ traits
-orchestrate the orcas’ strait
-navigate the orcas’ strait
-juan de fucha/orchestrator
–orcas’ traits, in black and white
-in caps & gowns, w/in the sound
-black and white / oreo
-juan de fuca
-black and white/oreo
-orcas’ strait or
-their gestation, the pod applauds orchestration navigate the orca’s strait
-fork in the river
-orcas/gestation/fetal size/the fetal size of
-fetal whales fetal sighs and fetal wails
The palette provides a memory-compromised individual the ability to focus more on and complete a writing task; but, at least, in my experience, it is definitely possible for the writer to forget, completely, the method by which a piece of writing has been created. This is why I am going to keep posting and maintaining this and other writing methods.
Overall, the really great part of this 4th Word Paletting method, in my way of thinking, is the fact that it allows a writer to return to the palette, again and again, like a pod of killer whales, and process another piece of it, such to convert the piece into a subsequent, creatively-written outcome, while forcing the writer to refine his or her craft of wording and rewording, sucking outside units of communication in to be melded and synthesized into a larger body of work.
01 orcas, cloaked, in CAPs&gowns,
02 w/in the sound(,) are seeing
03 white w/rage in spite of how
04 they sea the strait perceives
05 their traits, as black & white,
06 & view the sea empir(e) -ically
07 or(-)cause the pod to orchestrate
08 a sirens song that whales aloud &
09 lingers long enough, at dawn, to
10 reckon juan de fuchas plight
11 to set the orcas strait, in
12 light of how the martyrs lust
13 for fins could call or ‘ca(u)s(e),
14 there, w(h)a[i]l(e)s to fall
Matt Ramsey Related Word Paletting 2 WORD PALETTING 2 Word Paletting 1, Word Paletting 2, Poetic Scansion, Outlining With 4 comments You might enjoy reading: About Matt Ramsey; I am a writer, editor, proofreader and tutor and Brain AVM Survivor.
In 1987, I sustained my 14th* brain stroke; where upon, I had to undergo scary, scary neurosurgery, in a foreign country…
*Technically, the first stroke I experienced took place in the womb, rendering my 14th stroke, to be, in reality, my 15th stroke.Professionally, I am a tutor of collegiate-level writing; currently, I work, freelance; however, I worked at the University of Maryland, College Park for seven years, as a writing center tutor and as a writing mentor of student athletes.
(Note, I’m back at UMD, part-time, as of about a year ago.)
My main thrusts are poetry writing, creating poetry writing curricula that facilitate learning disabled individuals’ acquisition of strong denotative writing skills and breaking down conventional writing curricula into their essential components.
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