1. Get them to avoid cliches–not of thought (almost all thoughts are cliche), but of language and image.
2. Get them to play with cliche so that they master them rather than being mastered by them.
3. Teach them to vary sentence length against the line.
4. Teach them to be aware of word choice.
5. Teach them to know the difference between the concrete and the abstract, and all the hues and shades in between (a big mistake we make is teaching them to show, not tell without letting them know that the showing must tell–that an image must work for the poem.
6. Re-orient their sense of the “poetic” to include ordinary experience rendered in an extraordinary way, rather than extraordinary experience rendered in a typical, and hackneyed “poetic” way.
Specifically, let’s take the first two goals here. I noticed that many of my students, when in the throes of an injured heart would have to mention “piercing blue eyes, “cold blue eyes,” etc, etc. Those blue eyed boys were down right evil. I explained that the Russian novelists had exhausted just about every shade of eye in the 19th century, and song writers of pop were just about the only people who could still get away with making a big deal out of eyes. Take blue eyes crying in the rain. Or “I’ll never get over those blue eyes.” Green eyes hardly ever got mentioned. Why were blue eyes so important? I explained that, according to evolutionary biologists, blue eyes made the pupil look dilated, and a dilated pupil is a sign of enthusiasm, interest, and atavistic sexual fitness. Thus, according to biologists, blue eyes, especially when they are looking directly at you, seem to “pierce” you. It’s an optical allusion, but obviously effective. I said the next time you got into heavy eye contact with a set of baby blues, imagine an annoying scientist narrating the moment.
Hook Up Olympics
“Ladies and gentlemen, our subject is now
making significant visual contact
with the highly symmetrical, V shaped
mesomorph with the piercing blue eyes.
Jim, what’s happening here?
Well, Frank, I believe he’s about to perform
the cut off the crowd and shelter her
in the canopy of his well proportioned arms
maneuver that won him the gold at Edinburgh…
No… Look At that Frank! She’s
peering up shyly and rounding her shoulders, while
fully exposing her neck, pushing a
fetchingly wayward strand of hair from her ear,
and bringing her secondary sexual characteristics
together in a subtle, but definitely effective
display of cleavage. Good move!
Will he look, Jim?
Frank, Swen knows his strengths.
He’s keeping his baby blues, his dazzling
azures fixed on her sad and limpid browns.
Alright, here comes the moment of crisis.
He’s not looking. Will she laugh and show her
pearly whites, lick her lips, bend one knee
slightly towards his crotch?
Ah… she’s broken eye contact! The subject is
shyly fingering her necklace.
Swen looks down. He’s got a bead on her
breasts. She looks up again. Here comes the cock
block Frank! Ulga’s one of the best in the business–
a whiny, co-dependent room mate
who knows exactly when to ruin any seduction
with her unbridled neediness.
This is not Swen’s forte. At Sidney, he blew it,
insulted the cock block directly. Not good.
Even a turn here to block the block’s
access will cost him points. He’ll have to hope
his piercing blue eyes have done the trick.
And there it is Frank! The subject has
blocked the cock block, herself. Perfectly legal.
She’s turned her back three quarters and is now
melting in his large yet oddly gentle hands.
In this particular contest, Ulga is not
allowed to puke up her Southern Comfort.
And now she taps the subject’s shoulder.
I think it’s too little, too late. Yes!
No response. We have a winner here Frank.
Swen and his piercing blue eyes have done it again.
His cold blue eyes melted my heart
until I was frozen by his cruel indifferent gaze.
Well, I asked her how cold could melt, and melt could freeze? I made her read John Donne. I gave her a pep talk on oxymoron. I said: “make an analogy between his cold blue eyes and global warming. She wrote:
The arctic ice melts off the coast of Alaska.
Bears and Walruses drown, lost in a three year thaw,
but I remain frozen, melted
in your cold blue eyes.
For my heart, there is no global warming,
no rising sea in which to drown my pain…
Now this isn’t good, but it’s a big improvement over what she had, and it teaches her to play with an image, to make leaps between disparate things to form a bridge of meaning.
Here’s a prompt (and example) to help beginning writers deal with the first two rules.
PROMPT: take a cliche and exaggerate it to the point of absurdity.
One day the mountain grew bored
with being majestic,
and tumbled down its slopes to sit at the Lodge’s bar.
It wanted to be convivial. It wanted company.
Most called this avalanche. I tell you
it was boredom–the way things
tumble, the way things fall,
only to be themselves again.
That’s one way to work at the first two goals. There are many other possible ways to being working with the first two rules.
How do you help beginning writers avoid cliches?
- Towards a Different Kind of Workshop
- Joe Weil’s Must Have Books (Towards a Different Kind of Workshop, Part II)
- How to Edit Poems in a Workshop (Towards a Different Kind of Workshop, Part III)
- How to Teach Writing to Beginners (Towards a Different Kind of Workshop, Part IV)