One dreadful inspiring morning at a writing seminar, I emerged from a face-to-face editor session feeling as though I were stepping out the door and onto a parade float. For a few minutes, I could have sworn I was wearing a pageant gown, a tiara, and a ribbon sash proclaiming I was Miss Metaphor, and not in a good way.
Said editor had reviewed the first pages of my first novel and practically stamped that lofty title *Miss Metaphor* on my chest.
I emerged from the room fluttering a weak little Miss America wave at the other terrified aspiring writers awaiting their turns at the chopping block.
That experience caused me to
- Greatly revise my manuscript, and
- Wonder why metaphors are both awesome and terrible
With a little research, I found a true Metaphor Devotee — Italian semiotician, literary critic, and novelist Emberto Eco, who said, “…metaphor gives birth to pleasure (in writing).”
He claims that knowing how to conceive metaphors is an art.
Metaphors, and their cousins – simile, hyperbole, allegory – add punch to pallid writing. They enlighten and freshen dull manuscripts.
Too Many Metaphors
Some writers (Jodi Lea Stewart in the past, for example) are addicted to figurative language. Consider the following paragraph, and yes, I wrote it myself, and furthermore, it was easy because I could almost live inside a metaphor but that’s another story, n’est-ce pas?
The female fire hazard blazed her way into the board meeting – bull nostrils flaring, poblano pepper eyes glowing – and roared at the Sovereign Power himself, “Give me back my job or I’ll torch your underwear from the inside out!”
Thirty-nine words, twenty-one of which indicate some kind of metaphor.
Writers who use metaphors to that extent might want to hook up with a 12-step Metaphors Anonymous program sooner versus later. Over metaphorizing *I made that up to add interest* dulls out the reader almost as much as the writer who doesn’t use figurative language at all.
Too Few Metaphors
If Elements of Style by Strunk & White make you salivate…
If you love stringent grammar rules and feel it is a crime to alter them…
If you use symbolic language ultra-sparingly, or not at all…
If you wallow in strict English correctness…
Stop reading this blog.
Grab your Elements of Style and repertoire of grammar books and take a nap with them because you’re boring us all to death with your writing. Sleep. Just sleep.
However, if you are boring even yourself, and you are often told by readers, agents, or editors that your writing lacks color, excitement, or imagination, then I have a suggestion for you.
Run, don’t walk, to buy Arthur Plotnik’s Spunk & Bite. Read it under the covers with a flashlight if you must, but read it without delay.
Plotnik, a self-defined, writing-rule-rebel said,”Both Strunk and White knew well that bending the rules…can give writing its distinction, its edge, its very style. Bending the rules can spring writers from ruts – get them out of themselves, out of the ordinary, and into prose that comes alive, gets noticed, and gets published.”
Strike the Balance
A sassy blend of metaphor mixed with essential writing rules will let you stand proud on that Miss *Mr?* Metaphor float, or anywhere else. Just as a superb pageant contestant is lovely, well-rounded, and interesting, so is the kind of writing that stands out from the crowd.
“Metaphor is the supreme figure of all…connecting notions and finding similitude in things dissimilar.” – Umberto Eco
What about you? Have you been guilty of too much flowery writing? Did anybody ever tell you to stop? Maybe you abhor metaphors, simile, hyperbole and the like. Tell us about it. We love to hear from you!
When writers share, we just get better.
Pssst! – All media used in my blogs are either acquired by payment for their use, or don’t require licensing for public use. Often, I use my own personal photos. Please play it safe and don’t recycle images, okay? (P.S. This one of Henry Fonda is free for all. Borrow like crazy if you want!)
Stealing money isn’t the aim of the Mesa Redondo bank robbers. They want the mysterious metal object Silki and her best friend Birdie discovered in the bogs at Canyon Daacha. With Birdie headed up to Kayenta for the rest of the summer, Silki navigates wide-eyed and solo through a whirl of thievery, scary characters, lost artifacts, and a shadowy stranger Silki dubs “Amber Eyes.” Against a backdrop of Monsoon season floods and quicksand, Silki’s plight is complicated by the hateful slurs of a rebellious cousin her family must rescue before it’s too late. Soon, Silki finds herself smack dab in the middle of a plot stretching all the way back to World War II and reaching right into the very soul of her own family.I can't wait for you to meet my new Canyon of Doom illustrator, the Drawing Hands!
Jodi Lea Stewart was born in Texas and grew up in Apache County on a cattle ranch near Concho, Arizona. She left the University of Arizona in Tucson to move to San Francisco, where she learned about peace, love and exactly what she didn't want to do with her life. Since then, Jodi graduated summa cum laude with a BS in Business Management, raised two children, worked as an electro-mechanical drafter, penned humor columns for a college periodical, wrote regional western articles and served as managing editor of a Fortune company newsletter. She currently resides in Texas and New Mexico with her husband, two Standard poodles, two rescue cats and numerous gigantic, bossy houseplants. Silki, the Girl of Many Scarves: SUMMER OF THE ANCIENT is her first novel. CANYON OF DOOM is her second novel in the Silki, the Girl of Many Scarves series.