Word Paletting 5


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apples


Holy Moley! I just remembered how I was able to create one of the longest poems I have ever written, using another distinct Word Paletting method…!


I wrote it over a number of weeks, in various coffee shops and diners, in and around Baltimore, Maryland.


I think this Word Paletting method is  a good way  for  a  writer to become best enabled to emeliorate his or her communicative written finesse.


In specific, its my opinion that it works to acclimate a writer to conquering the specific epi-process that is entailed when a writer has gathered outside information, near the end of his or her writing process, when he or she must amass information, from external sources, to provide points of view that coincide with and that go against the grain of the established, stated thesis.


How I wrote this poem is somewhat unorthodox, in contrast to the way most people probably think of when they conceive of creative writing.


It just sort of started to emerge, one day, and I remember it sort of birthed itself, over a number of weeks.


One day, in the final semesters of my undergraduate “career”, in a Baltimore coffeeshop, I  started rattling off lines of pretty snazzy language, with a pen, into a marbelized notebook, that were all approximately about the same length. In reality, I jotted them down, such as:


“when appletrees, asleep, do sneeze, do apples fall into their dreams?”


“when appletrees, asleep, do snooze, do appletrees, their fruits, too, lose?”


I continued to do this, until I had a lot of lines, about three pages of them, written down and, then, I began to temper them into super high octane language that, as well, contained about the same number of syllables or that were all about the same number of syllables, doubled, tripled or quadrupled.


Every line, mind you, contained the word, apple. Most of them contained the word, “appletree” and they all continued the previous line’s general communication, too.


The fact that, while researching, on topic, for grad school assignments, I had to write the meaningful meat and assertions to which my assignments pertained.


Then, I inserted corroborating information, in the form of quotes from other bodies of current writing, made me, one day, realize the similarity between what I had done to write poems, like “apples”, to the part of the research-writing process that one uses to infuse outside information into his or her written body of work.


This act lets a person complete and perfect his or her writing and, then, when the individual’s LD has really has kicked in and is causing intense lethargy, it allows the rest of the writing task (the acquisition and insertion of outside information) to be more easily accomplished.


In reality, even though I still, to a certain extent, am short-term-memory-deficient, the fact that I was able to amass quotes and citeable/cited units of intellectual property and weave them into passable formats, to me, is a little amazing.


Like Mr. Magoo, following my final stroke, I know that I produced many palettes, using the fifth Word Paletting method; I just don’t know which, of all the poems I have written and/or that  have been published, they are. I really  don’t care,  either…I just want to communicate the writing method, as I know it pertains to the poem, apples.


What I remember, most vividly about how apples came to be was that it came out over a number of weeks, during one of my final undergraduate poetry writing classes; it was not the final poetry writing class I took; I know that, for sure.


When I was in grad school, I would choose a specific topic that was encompassed by the greater Writing curriculum that was geared to having us, as students, becoming better at TEACHING THE ACT OF WRITING.


In undergraduate school, especially in content area classes that had nothing to do with my professional goals or aspirations, I had an easier time completing written assign-ments than other people seemed to have.


Also, writing papers that required me to cite and/or quote information from other published works never phased me.


That was the difference between undergrad and grad school, for me; on the undergrad level, in order to be a student whose focus was Creative Writing, I had to take 3 trillion other Literature classes.


Who doesn’t love literature that is fictional and that has been written and published several hundred years before one was born? (Wink-Wink!).


Anyway, here it goes…I just started writing lines like the following:


when appletrees, asleep, do sneeze, do apples fall into their dreams?


when appletrees, asleep, do snooze, then appletrees, their fruits, do lose.


when appletrees who snooze do sneeze & apples fall, do apples dream?


All the while that I was writing this I was focusing not, primarily, on the meaning of the language and, simultaneously, I was focusing on the overall coherence of what I was creating.


Specifically, I was concentrating on how each sound of each syllable of communication sounded and was affected by the sound that came directly before it.


Simultaneously, I maintained awareness of how the syllable was going to effect the subsequent syllable and line, both “sound”-wise and “meaning”-wise.


In reality, the quotes around the word, “meaning”, above, are to let my reader know, without a doubt, that I am not weird enough to think that “APPLES” really has meaning.


The fact is that, when an individual uses creative writing methods to practice the act of writing, he or she has much less difficulty while just writing denotative, factual prose.


The poem, apples, is comprised of 30-32 paletted lines with a preamble-esque introduction and a “summarizing” culmination. These correspond to an academic writer’s introduction and thesis and conclusion.


This might not sound all too useful, as a grand mass of communication;  however, what I’ve figured out is that inherent in this method is a parallel action to the things I did when I was called upon to:


A. pick a topic,


B. research it,


C. draw similarities 


D. and differences between my

      thoughts I had on the topic and


E.  extend the concept to a non-

      academic audience.


F.  locate quotations and units of


intellectual property, both, that


reinforce/disprove my thesis.


G.  reckon which of the intellectual


property outweighs the other.


H.  assess the overall validity of the


thesis to determine if it needs to


be altered. What I did, after I had


written my point of view on the


topic I Ihad to communicate and


write about, was outline my re-


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sponse to the assignment.


Then, after I hammered out the initial map of my paper, from beginning to    end, I just needed  to find research that had  already been pubed to substantiate my contention(s).


Thereby, in general, I provided an introduction to  my topic that stated the parameters of that about which I was writing and, then, use the introduction to lead into the actual body of text in which I communicated my thoughts and ideas on the topic, using denotative, non-enigmatic words.


Using this creative writing method, however, especially, learning disabled writers use craft, zip and communicative chicanery to fool their readers into thinking that nothing is amiss; in “apples”, I used a weird, sing-songy introduction, because I just felt like it.


Technically, you don’t have to do the same.  In fact, the introduction of this poem was added after the mainstay of this poem’s body was written.


You don’t have to use rhyme for the intro, either; let that be known.


In the place of a statement of purpose or thesis/thesis rationale, the user of this Word Paletting method should produce an intriguing introduction. By doing this, and by making the introduction amazingly snappy, it could make it easier for a writer to become acclimated to assuring that his or her introduction and conclusion are necessarily extremely powerful.


 My intro is:


something strange


-lee came to be beneath the branches of the tree where you & i, as children, played  a game w/in its leafy shade…


Then, I really started dipping and daubing my writer’s brush onto the palette and began to paint this poem.


when appletrees, asleep, do sneeze, do apples fall into their dreams?


(Now, I warned you, didn’t I, that this is creative writing, right?)


when appletrees, asleep, do snooze then appletrees, their fruits, do lose?


when appletrees who snooze do sneeze & apples fall, do apples dream?


What you have to realize is that the lines of the poem, beneath the introduction and above the final stanza, as they were written, represent the quoted material and borrowed intellectual property that need to be communicated, in conveying your intended communication.


So, soon, the palette was expanded to:


when appletrees, asleep, do sneeze, do apples fall into their dreams?


when appletrees, asleep, do snooze then appletrees, their fruits, do lose.


when appletrees who snooze do sneeze & apples fall, do apples dream?


when appletrees who sneeze do snooze their nostrils cease to, mucous, ooze.


when appletrees who snooze do lose their fruits, in winds, do fall to snooze.


when appletrees, their fruits, do lose, then appleseeds, inside, do snooze.


when appletrees, their fruits, do free, & apples fall, do apples scream?


when appletrees, their sleep, do lose, then apple are in need to snooze.


when appletrees, their fruits, do dream, as apples fall, do apples scream?


when apples fall w/in to streams of consciousness, they start to gleam.


when apples fall down into dreams do appletrees, all, lose their leaves?


(END OF PAGE I)


when appletrees come into lees, do apples start to long for breeze?


when appletrees are bearing moss, their fruits will soon be applesauce.


when applejuice, from fruits, does floom, hold out your tongue, in sweetness, swoon.


when apples fall to earth, do bruise, their consciousness, do apples lose?


when appleseeds, from fruits, are freed away to meet w/earth, they breed.


when juices from their their fruits do seep then apples of an eye do weep.


when apples’ lucid dreams do lose control of  earth & gravity then apples, falling free, do scream to see the earth come into glee.


when apples, freed, themselves, do fall to deeply sleep, they start to dream. when appletrees released their leaves, do arbre de pomme release leur fruits dans a la winds ce fait les arbres de pommes a dans a breeze?


when appletrees, in deep, do breathe & apples fall beneath their leaves, can it be seen, can it be said that appletrees do lose their fruits?


when appletrees, indeed, do dream, do apples fall into their streams of conscious-ness of where from fell the apple the appleseed, the appletree, indeed, did need?


when appletrees, asleep, do dream & apples fall, as fruits do sneeze then appleseed’s, in fruits, do lose their contacts w/the appletree.


when appletrees do lose their leaves, mayapples seem, drop to their knees to pray/reverse reality, be sucked back up into the leaves.


when appletrees can sleep tear-free then apples, all, will fall, care-free, &, as they fall, though they may scream, w/in their eyes, will be the gleam.


when appletrees, asleep, do sneeze, they all fall into glee, fully; as, awakened from their sleep, they see, that life is all, but, just a dream.


Now, this what I wound up having after I completed the pre-writing part of the Word Paletting 5 process that, in all, represents the gathering of outside, quotes or borrowed intellectual property.


Then, I followed this up with:


when blossoms fall & fruits do floom, from branches, can it be assumed that the appletree might miss its friends, the apples, as they, downward, zoom.


when, in its leaves, an apple dreams &, thru too soon, an apple leaves, may apple trees, indeed, do sleep as soundly as their fruits do roost.


when juices, sweet, from fruits, do spew, the flesh of fruits must be askew from how it was, when hanging from the apple tree, is this not true?


when juices, sweet, from fruits, do floom, as trees are tapped for fruits, too soon; then, angrily, from appletrees, all apples fall to meet their doom.


What I have been able to connect to this are the subprocesses of the method I used to write research documents to this word paletting process.


How I researched and wrote /recorded what I had found in my research was to maintain precise records of everything I had found, in written form, leading me to experience copious amounts of stress, especially when I was in graduate school and, mega-especially, when I was working more than 40 hours per week, simultaneously, as I was completing my masters degree, too.


I wrote the content of my assignments; then, went to the library or the library’s online search portal, to locate information to be used to corroborate and go against the grain of what, in my writing, I was contending.


The way that I performed the pre-writing for the poem, apples, directly corresponds to how I assembled the quotations and cited units of intellectual property that, in the final stages of my writing, right before I performed and wrote my final analysis and suggested directions for future research.


Much like the way I listed lines of the appletree poem, I listed quotes and units of borrowed intellectual property, not lines of poetry.


And the method, I believe, can be used to equip writers with the ability to amass denotative, researched prose information, instead of poetic language, onto their palettes, when writing, and successfully infuse the information, easily, into the research writing they need to produce.


Finally, after an LD individual (especially, a post-craniotomy survivor) practices Word Paletting 5, recursively, he or she can be guided to apply the same written process to to authentic communicative tasks.


Only, instead of having to create his or her overall palette, from scratch, the student can use research tools, like: citeulike.org, to amass the most recent, pertinent texts and articles that have been published on the subject.


While writing apples, to mirror the essay-writing process, I provided an introduction and a conclusion, as well; therefore, in writing the poem, I pre-empted it with:


“something strangely came to be beneath the branches of the tree where you and i, as children, played a game beneath its leafy shade: the headlines read…”


Then, at the end, I followed it up with: “seen between the green of leafs a gymnosperm, so wee and free, had fallen like a weight of dread to smite poor johnny on his head; the blow, although it hadn’t bled, had left young johnny seeing red. as blood had spurted in his eyes, this poem, he did externalize”.


Of course, in completing authentic or academic written tasks that require data to be acquired and assembled on page, one isn’t required to use such potentially, mesmerizing language.


To boot, by culminating the poem with similar, yet, different language as the poem’s “introduction”, the writer is mirroring the research writing act, again, using ‘the best words, in there best order’, heightening the learning disabled writer’s communication, even more.


But, using this word paletting method can provide writers (especially, LD writers) preemptive experience in gathering data/language to be inserted into another living work in process.


Lastly, the pivotal aspect of this writing activity, for learning disabled writers is the synergistic nature of producing the palette, that is parallel to the act of gathering data from external sources and implementing their content, within a broader body of work.


The fact that the method, above, focuses writers’ minds on creating a palette that is of the utmost communicate ‘beauty’ and let’s them preempt and follow up the ‘high brow’ language with written communication that is of a lesser quality expands the abilities of disabled writers’ to uphold written, communicative endurance, longer, in the process of research writing.


This is true, due to the fact that writers acquire experience in amassing a body of ‘information’: the palette, and implement the paletted ‘information’ into a greater body of work.


Once again, please contact me to provide feedback, at:


mattramzzz@comcast.net


 or


www.facebook.com/mattramzzz1971


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9 thoughts on “Word Paletting 5

  1. mattramzzz says:

    Word Paletting 1 submerged correlative term, overtly-exposed palettes terms.

    Word Paletting 2 overtly-exposed paletted terms with overtly exposed, repeated anchor term.

    One paletted term used as the final, culminating gotcha statement of the poem.

    Word Paletting 4

    Word Paletting 5: the entire palette used to comprise the poem, with a prelude and afterword.

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