Word Paletting 11


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Here is another word paletting method I used, accidentally, in the X-number of months-to-years that ensued, following my 15th stroke.


This was arrived at, using lions, conn-ecting to the anchor term, “fish”; only, using the homophone, “lines”


i’ve never cast sew many lions



01a  ten  story   fall   can  cause  the


02pause  of  autumn’s  laws, w/in  the


03breeze  to   flute   a  tune  &  siren’s 


04song  amid the snow, where  angels


05dog the cats, as parrots, w/a  shot


06 shot of  rum, begin  to hum & bleat


07the lamb & kneel & prey, so sellers


08so  sellers say;  the sea, they  see,


09can be the seawolves seen, upon 


10the scene where  drooling  mules


11do   bear  the  brunt  &  seem   so 


12blunt   &   to     the     point    of    no 


13return,    from      home,    w/    in


14the    den,    w/   out    the     pride


1. Choose a fulcrum term; in this case, I’m using “fish”.


2. Connect words to your anchor term               to assemble your palette.      


        Anchor Term:”fish” 


                                   Palette:


                               (fish)-story


                               (fish)-tail


                         (fish)-tales are told


      pan-(fish)


         angel-(fish)


          parrot-(fish)


          dog-(fish)


          cat-(fish)


        shell-(fish)


3. At this point, the title of the poem was identified:”eye have never cast sew many lines”, via looking at the anchor term: “fish” and using creative punning around.


The first punny part of this poem is in the fact that I used the anchor term, “fish”, then, only, thereafter, referred to it, in the title, which I added last.


Also, happy accidents and inadvertent connections were attempted to be identified in the words within/upon the palette.


4. Then, the wording was divided into a configuration, akin to a Shakespearean or Plutarchan sonnet, to make it possible for there to be a summarizing impact nature to the conclusion. (As it is, now, I haven’t wrangled the syllables into a 14-lined piece of magic.)


5. Looking at the wording in the elements of your palette, determine where there is the potential for additional and enhanced usage of pun(s), such as: in “sel”-french, for salt, in connection  to “sell”, as in “she sells seashells, down by the seashore”, where there is salty spray.


6. Here, use rock-tumbling: the process that a writer uses to hear the cadence of a poem ‘s rhythm and flow, prune and finesse the poem into “sonnet” form; technically, this is not necessary, but hones one’s communicative prowess because it adds an additional dimension to what you’re doing as it places you, as a writer, on a unicycle, then places your unicycle up, on a tightrope, figuratively.


7. As in Step 3, likely, you can identify a prone, final line/ statement, already existent in/on your palette, to act as your poem’s final statement, eliminating, once again, the shackles of the demon rhetoric.


While creating your palette, you only want to include extremely well-polished, amazing bits of communication. But, as in the poem, “ive never cast sew many lions”, the first line connects, content-wise, to the poem’s final line, just like an essay.


8. Perform rock-tumbling and bridge-building and add your personal touch, via rereading your poem and seeing where, if at all, you can add depth and/or enigma to your writing, by changing a homophone to its mate or changing words, like “at” or “and” to “@” or “&”.


Please contact me to pose any questions. 


 www.facebook.com/mattramzzz1971


 

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