Word Paletting, Hybridized w/ Ekphrasis



1. Decide upon an object or concept that you see, graphically represented, to which several, if not, many single words, word pairs, phrases, et. al. can be connected, eg. a circle or an “O”.


a. O-zone,


b. O-ring,


c. cheeri-O, (cheery)


d. my-O-my,


e. O-my papa,


f. spaghetti-O


O2. As you experience life, and use your mind to brainstorm with yourself, using a notetaking mechanism, (a pen/pencil or a smartphone w/e-mail, Google docs or Evernote, e.g.), start to compile conceptually-contiguous palettes that you see, represented, physically, or that you can think of.


The catch to this palette is that you have the ability to include or not include the anchor term or anchor component, overtly, providing, both, practice in the act of including quoted intellectual property and quoted mater that is not necessary to quote but still needs to be cited.


3. When you have a substantial list (about 6-7 items, at least), utilize the Word Paletting 1, 2 or 3 method to write your poem.


4. This includes, composing a segue in, to ignite your communication, simulating an introductory statement. Too, this eliminates the quandry of the need for one to include a thesis statement that one has to support OR fail to support, in his or her writing.


5. Then, you can choose objects/words, at random, instead of having to amass a list of correlative objects and/or objects that you see.


6. Finally, utilize the full set of steps of the Word Paletting 1 method to finish out your poem, being sure, especially, to concentrate on rock-tumbling, bridge-building, et. al.


A. First, produce a segue to introduce the “meat” of your work. If, like me, you’ve got a damaged short-term-memory, you can implement the anchor term you used into the title/lead-in so you have another bread-crumb, to let you find your way back to this writing method, in the event that this blog post goes off-line. Due to the difference between the norm, commonly-associated with rhetoric that involves students, writing about a chosen topic, about which they may or may not care.


The weird things I’ve noticed are that the CON-part of the PRO/CON (because students, in general, start writing about their favorite activity, idea or memory, and are focus on the negative aspects of their favorite thing) and that the THE OTHER SIDE-component of the EXPERIENCE, where students have to communicate in direct opposition to their original thesis that they used in the beginning of the series of essays. has the ability to bring innocent ENGLISH 101 students to their knees; however, using Ekphrasis, in a classroom environment that contains wildly-connectable objects to have students engage in word paletting seems to be of benefit, due to the commonplace nature of the “found objects” and the “supercharged” nature of the final written product.


Poetry, by Coleridge, was stated to be “the best words, in their best order”; therefore, if the goal that’s set for students is to use a systematic (possibly synthetic) method for creating (or simulating) the best words that are to be assembled in their best order, as long as the words are amassed and are there to be used and as long the refinement processes of the final product is accomplished, I say the goal has been met, if not surpassed, if an individual uses ekphratic word paletting to create communication.


 

One thought on “Word Paletting, Hybridized w/ Ekphrasis

  1. mattramzzz says:

    Word Paletting Ekphrasis

    If you are in a rut and are experiencing “writer’s block”, this can be very useful. Ekphrasis is an act that utilizes a graphic image to spur your creativity. This particular strategy is used as a method to initiate the word paletting process. 

    As it was communicated to me it is when a picture or image speaks to you and causes you to react and respond, artistically. However, an image or object, by ld writers, can be used to kickstart a poem. A wagon wheel was what I witnessed to cause me to use “O” as this palette’s fulcrum.

                      a. O-zone,

    b. O-ring,

    c. cheeri-O, (cheery)

    d. my-O-my,

    e. O-my papa,

    f. spaghetti-O

    g. O-lakes

    h. O-leo

    2. Create a palette of lines to introduce and segue into the working body of the poem or just create a lead-in.

    “turning out, while in the

    3. Sequester the components of your palette, without the anchor term.

    a. -zone, 

    b. -ring,

    c. cheeri-, (cheery)

    d. my-,-my,,

    e. spaghetti-

    f. -lakes

    g. -leo

    4. Then, using the creation of communication and palettes words’ inclusion, snake your way through your palette, picking up wording, as you go.

    turning out while in the

    b. -zone, a bone to pick can

    c. strike a tone & ring the vell

    d. to tell the crowd a “cheerful”

    e. tale[(:)] & [my] gorey store

    f.  of morbid  lore, when galil

    g. leo smote a star, then cast her

    h. corpse into a lake &, her last 

    i. breath, he watched her take

    j. my breath away, w/words hed 

    k. use to stir a crowd into a mob,

    l. on city-sts, where lying lambs

    m. would die and bleat a breath

    n. to let the earth know of their death

    5. Technically, I combined two steps, in one, while I was writing this and converted into a sonnet.

    turning out while in the

    b. -zone, a bone to pick can

    c. strike a tone & ring the vell

    d. to tell the crowd a “cheerful”

    e. tale[(:)] & [my] gorey store

    f.  of morbid  lore, when galil

    g. leo smote a star, then cast her

    h. corpse into a lake &, her last 

    i. breath, he watched her take

    j. my breath away, w/words hed 

    k. use to stir a crowd into a mob,

    l. on city-sts, where lying lambs

    m. would die and bleat a breath

    n. to let the earth know of their death

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