Word Paletting 11


Here is another word paletting method I used, accidentally, in the Xnumber of monthstoyears that ensued, following my 15th stroke.

This is the poem I created, w/it.

title: ive 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.                  

        Anchor Term:”fish” 




                         (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: insel“-french, for salt, in connection  tosell“, as inshe 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, 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 “&”.

Please contact me to pose any questions. 




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