|
|
|
Content
Generation
|
Generating
content for poems begins with the imaginative
dive into the sea of conscious and subconscious
ideas. In this watery atmosphere (the
world of not knowing), we must
learn to test the depths, struggle with
the currents, navigate through the channels,
and float on the tides. At first, we may
be uncomfortable since our normal environment
has accoustomed us to the security of
a life lived with our feet firmly planted
on the seemingly solid ground of terra
firma (the world of knowing). But it is
only when we put ourselves outside the
safety of the familiar that we access
the beauty (and sometimes the terror)
of the imaginative.
Below is a list
of 10 techniques for generating content.
After you've studied each of these, click
on Exercises
and follow the instructions.
-
Adding
a figurative comparison or contrast
(metaphor,
simile,
or symbol).
|
Original:
Revised:
|
She saw
her brused thumb.
She saw
her bruised thumb,
as purple as a plumb.
|
- Supplying a
literal, concrete action or image
(that is either real or imagined).
|
Original:
Revised:
|
The hills
were long and rolling.
The hills
were long and rolling.
Daffodils swayed in the breeze
of the late-afternoon heat,
while cows moved slowly
up the southern ridge.
|
- Adding an elaboration,
extension, or distinction to an idea
or proposition.
|
Original:
Revised:
|
We read
to understand.
We read
to understand, and the more
we read, the more we know
we understand less than we know.
|
- Adding an idea,
meditative moment, or proposition
to an image or plot element.
|
Original:
Revised:
|
She dressed
so carefully.
She dressed
so carefully
that one could not help
but think that something more
than acts of vanity were behind
her deliberate moves.
|
- Adding a description
to open up a statement or image.
|
Original:
Revised:
|
He was
an angry man.
He was
an angry man,
but sometimes, behind
his scowl, a sad memory
would flicker.
|
- Adding plot
elements to a dramatic situation.
|
Original:
Revised:
|
He used
to lie his finger
beside his nose before
he'd answer.
He used to lie his finger
beside his nose, stare up
at the ceiling, and hum
before he'd answer.
|
- Adding characterization
(by using analogy) to an action or character.
|
Original:
Revised:
|
He looked
small, gaunt, and old.
He looked small, gaunt, and old,
like a desert lizard after twelve
days without water.
|
- Adding word
play or musical effects to a line
of thought, image, or action.
|
Original:
Revised:
|
When the
sick child sat up
he said "I see you!"
When the
sick child sat up
he said, "I see you!"
and the doctor couldn't help
but think of the abbreviated letters
of the Intensive Care
Unit.
|
- Supplying dialogue
for a character or situation.
|
Original:
Revised:
|
She let
the water from her hair
fall
down her back before
she turned.
She let
the water from her hair
fall down her back before
she turned and said, "I think
I've had enough for today."
|
- Adding specificity
to general description.
|
Original:
Revised:
|
The
cars passed by the funeral, slowly.
One, two,
three, four cars,
then more passed by as the minutes
clicked one-by-one slowly away.
|
As you move through
this course, try to use all ten of these
techniques for generating contentyou'll
be surprised at your ability to get the
words down on paper. Now
go to the exercises and practice, practice,
practice.
metaphor:
a trope (language whose interpretations
go beyond the literal to the figurative)
that works directly through a comparison
of similarities, dissimilarities, substitution,
or identity.
simile: a poetic
device that indirectly compares the characteristics
of one thing with those of another.
symbol: a poetic
device in which a literal image or a phrase
stands as a sign that takes its meaning
and order of ideas from its surrounding
context.
plot: the actions
or events of a narrative.
characterization: the representation of real or fictional characters
via physical, psychological, attitudinal, or anecdotal description.
|
|
|
Part
1 -
Part 2 -
Part 3 -
Part 4 -
Part 5 -
Part 6 -
Part 7 -
Part 8 -
|
|
Exercises
|