metaphor – Page 2 – Deborah Makarios

November 22, 2014October 19, 2017

How is a Novel Like a Sock?

They both have heels? No?

I was re-reading some old posts the other day and rediscovered my Master Metaphor: knitting a sock. The big long-running effort in my life at the moment is finishing the accidentally-epic first draft of my current Work In Progress, working title Tsifira. So naturally, my mind turned to considering it as a sock. A purple sock, of course.

Writing a sock is actually a lot like knitting a novel. Getting started is fiddly, and sometimes takes more than one attempt. After that you seem to be just going around in circles for a very long time. Then it gets more complicated.

There’s a lot of going back and forth, the pattern changes, and what used to be sideways becomes up, and vice versa. You have to pick up a number of threads you thought you’d finished with, and then you’re going in circles again. It’s not til you look back you realize that you’ve turned the heel.

Then, just when you’re thinking there will never be an end to this interminable circling, you realize you’ve got so far that it’ll be too long if you don’t start tapering toward the end.

This is where I am at with Tsifira at the moment: shaping everything in to the end. And once that’s done, there’s only a bit of grafting the loose ends together and it will be finished.

Jabberwocky-sock — Not quite how I expected my sock to end.

Of course, this is a first draft, so there are all kinds of mistakes I don’t even know how to make with a sock: surplus beginnings, several heels (and quite a few turns!), extra length where not required (okay, I definitely know how to do that one) and the toe shaping could well turn out too pointy or too blunt.

But that’s a first draft for you: messy as, and looking like nothing on earth. And this is where the sock metaphor falls down a bit (hur hur), because it’s really very hard to rewrite a sock. Either you undo the whole thing and start over (not recommended) or you cut and paste (definitely not recommended).

The point of the master metaphor is not, of course, that one thing is analogous to another, but that having done one thing that seemed difficult or impossible, it is possible to do another. And so with this.

A great deal of rewriting lies ahead, no doubt, but one day I shall hold my finished ~~sock~~ novel in my hot little hands, and that will be awesome, even if it doesn’t keep my feet warm.

Now if you’ll excuse me, I have some toe-shaping to do.

What’s your Master Metaphor? Know any good metaphors for rewriting? How is a raven like a writing desk?

February 9, 2014

the Master Metaphor

I recently read The Creative Compass by Dan Millman and Sierra Prasada, and came across the really rather interesting idea of the Master Metaphor. To quote:

“At some point in your life, perhaps more than once, you achieved something, despite the odds against it, because of a longing or determination that you can’t fully explain. It might be a skill that initially seemed out of reach or a one-time accomplishment: jumping off the high diving board, delivering a speech at a school assembly, or travelling to a distant country. That experience, as distinguished by the inexplicable feeling that accompanied it, forms your Master Metaphor.”

It doesn’t have to be an accomplishment that the world deems great, it just has to be something that was hard but you did anyway. A symbol of your ability to succeed against whatever’s pushing the other way – tiredness, lack of ability, your own character flaws.
It’s the ace up your sleeve you pull out when the chips are down. (Mixed metaphor? Not sure.) I did that, I can do this, you tell yourself.

It took me a while to figure out what my Master Metaphor could be, given my propensity for giving up if I don’t get it right the first time, a besetting flaw if ever there was one.
Then it came to me. Socks.

Not the sort Polly Oliver uses to -er, bolster her male impersonation, nor yet the shortened form of ‘Socrates’ with which Walter Judson tries to maintain a philosophic calm on the golf course.

To be precise, turning the heel when knitting a pair of socks. I have mentioned before how long it took me to figure out how to do it, even with a clear and simple pattern to hand. I’m surprised I persevered, given that I had no pressing need to knit socks, only a pressing desire, and that much shaken by repeated failure.

The problem was that I couldn’t see how what I was doing was going to produce the desired result. I couldn’t visualise how it all went together, so in the end I just had to carry on in faith that it would turn (pardon the pun) into a heel. And it did.

That’s a good metaphor for writing right there. You get your structure sorted (the pattern) and then you just keep going even if it looks like nothing on earth, trusting that it will come out the right shape if you just keep going.

So what’s your Master Metaphor? And do you know any good patterns for socks?

April 27, 2013October 19, 2017

Writing In Flow

:Keys to Enhanced Creativity
by Susan K Perry, Ph.D.

This book is based on the thesis which earned her that Ph.D. – hence the 8 page Appendix, 10 pages of biographical information on the writers who provided her research material (including Diana Gabaldon, Sue Grafton and Ursula K. LeGuin), 19 pages of notes and 12 pages of bibliographical references.

That said, it’s by no means a dry tome – Perry is primarily a writer, after all – and it holds the interest, whether you approach it from the academic level (what an intriguing phenomenon, I wonder how it works) or the personal (do others experience this the way I do and what can I pick up from them?

The “flow” referred to is that experience of losing awareness of the world around you, when the words just pour out of you, and time stops.

The ‘sweet spot’, ‘the zone’ – whatever you call it, that’s what we’re talking about here. In great detail. Too much to cover here, so you’ll just have to read it yourself if you’re curious.

Chapters cover what flow is. How it happens. What it feels like. The keys to getting into flow – have a reason to write (“Don’t coerce yourself. Find your motivation.”), think like a writer, loosen up, focus in, balance among opposites. Writer’s block – the complete opposite of flow. And my personal favourite, Specific Techniques for Luring Flow.

These include: specific rituals or routines around writing, specific writing tools, time and space, music/silence/meditation, re-reading what you’ve written so far/reading others’ work to spark your creativity/stopping in the middle of something, eating/drinking/fasting, walking or jotting or knitting or doing physical work or tiring yourself out or climbing a tree or (like Colette), picking fleas off your cat.

Obviously, you can’t use all of these at once. (Picking fleas off a cat halfway up a tree while knitting? I think not.) But there’s plenty to play with here. Try something. See how you like it.
Try something else. Play with the combinations and wait for the tumblers to go click.

Myself, I am drawn to the rituals/routines and the specific tools.

For example, I like to drink tea while I write. Actually, I like to drink tea most of the time, but I let myself have a lump of sugar in it if I’m writing. Perry notes, “As a writer who wishes to write regularly, you need to seek out ways to complexify your day to day life so that it remains fresh and inspiring to you,” but then, she is a full-time writer – a DDJ being more or less the antithesis of fresh and inspiring, yes?

As for writing tools, I believe I have mentioned before that I write with a Faber Castell fountain pen. It’s old enough that it uses actual ink from bottles, not plastic cartridges like my modern Parker does. I thought it used an Archimedes screw to draw up ink (how awesome would that be?) but apparently it doesn’t.

There is a screw-shaped bit, but it sucks up ink in the same way an eye-dropper sucks up eyedrops – it creates a vacuum, which nature abhors and therefore obligingly fills with ink.

Which is all to say that I will need to buy a bottle of ink sooner or later. Possibly later, given how long the ink lasts. For purposes of comparison, a disposable pen (ballpoint) contains between .27 and 2mL of ink. The smallest bottle of ink I’ve seen for sale contains 30mL.

At present I am using a fine blue ink bought for me (along with an elegant blue/green glass dip pen), by a friend visiting Venice. (Clearly, this is a Good Friend.) But what shall I use when the blue is finished?
When I started writing up notes for The Black Joke, I decided to use creamy paper (I bought a ream) and sepia ink from an old calligraphy kit, (the Made in China kind – bleeds like mad).

So when I read this book, two synapses touched, there was a minor explosion, and I thought ‘I could have a different colour ink for each Work In Progress – a thematic colour, as it were.’

Hard upon that thought followed the question “I wonder what the thematic colour for Tsifira would be?” At the moment, I lean towards a sort of amethysty purple – bright enough to be light and sparkly, but dark enough to be actually readable. Preferably even by candlelight, for the winter dark comes on apace.

I shall leave you with a final thought to chew on from Susan Perry’s book: “Your own preferred way of thinking about and describing flow is as unique to you as your writer’s imagination. Learn something about your creative process by taking a moment to consider your own sense of what flow is and how you get there… If you construct your life around words, the right metaphor can be critical.”

What is your metaphor? What is your method? I’d love to know.