The fact is that I have witnessed the acts of pre–writing/gathering of creative kindling and tinder as they have really stymied non–LD writers; post–AVM/craniotomy writers need to have an easy way to establish and extend their pallets, such to not run out of poetic kindling.
Due to how incredibly tired I remember having been, especially in the first 6 to 12 months after my craniotomy, it is my belief that using one set of paletted terms to arrive at a much bigger pile of poetic kindling is a brilliant way to begin to cause the ignition of a far more brilliant poetic fire than having to re-amass a new whole set of ignitable words and phrases, for LD writers.
I remember having always been amazingly tired: especially, after 6 1/2 hours of high school, 5 days per week, and physical, occupational and speech/language therapy that I was administered 3 days a week, after school.
1. The anchor term I used to built this poem’s palette was “OVER”.
2. To the the anchor term,”-OVER-“, I connected “FLOW”, “CROSS-“, “LAY” (double trouble), “-KILL”, “POP-“, “ACT”, “-DO” (double trouble), “DONE”, [conduc- ting/redone] as well as [DONE OVER and OVERDONE, “DRIVE”,“DEPRIVE”, “SUR-VIVE”.
3. The more words that (or terms) that exist on your palette represent greater ease in making high quality communication as they represent usable arrows in your creative poet’s palette.
4. Simultaneously, while conducting research and determine what is valid enough to be included, one must have the versatility to add newly-acquired data, whetherin the form of quotes or units of intellect-ual property, into his or her working body.
5. Then, I added two additional words to the palette that each rhymed with each of my orig-inal palette terms. OVER lead to:
Next, the palette was expanded to: “glow, row, loss, moss, say, play, still, drill, drop, stop, fact, redact, ensue, redo, pun, fun, redone, deprive & survive”.
That amounts to 28 additional units of poetic kindling with which to start a poetic fire.
While other writers are whining and crying that they don’t know what to write about, the user of this Word Paletting method can kick back and psychicly strut, due to his or her surety that kindling will successfully be amassed by him or her to initiate the writing task, with no problem.
6. Simultaneously, for writing and conducting research, one must have the versatility to add newly-found data, quotes and units of intellectual property, into his or her working body of writing.
Essentially, your palette will come to look like a slightly weird set of lists of connected words, phrases and terms. On paper, the “lists”, on a single sheet of paper come to look like a pretty chaotic of scribbled gibberish.
7. What I do is use and keep distinct lists of anchor terms, primary palette terms and secondary palette terms. This way, I have the ability to read the finished product, side by side with the palette(s) that I used to initiate and create it.
8. Then, once you have your words from your secondary pallette infused and imple- mented, you need to assure that the work you are doing is uniformly polished, poetically and communicatively so no one has any real clue as to the fact that you aren’t really made of magic.
In order to acquire better-honed skill in, both, adding quoted information and infusing borrowed intellectual property, some of the units of communication from the palette can be used and infused into the poem with the anchor term, like in Word Paletting 2, and some can be implemented without the anchor term, like in Word Paletting 1.