Here is another word paletting method I used, accidentally, in the X–number of months–to–years that ensued, following my 15th stroke.
This is the poem I created, w/it.
title: i‘ve never cast sew many lions
01a ten story fall can cause the
02pause of autumn‘s laws, w/
03in the breeze, to flute a tune
04& siren’s song, amid the
05snow, where angels angles
06dog the cats as parrots, w/a
07shot of rum, begin to hum &
08leat the lamb & kneel & prey,
09so sellers say; the sea, they see, can be the
10seawolves, seen, upon the
11scene, where mules who drool
12do bare the brunt & seem, so blunt, & to the
13point of no return, away
14from home, w/in the 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.
(fish)-tales are told
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 inadvertant 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 Shakesperean 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; technical- ly, 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, amaz- ing 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 “&”.
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