My A to Z challenge theme is writing terms. I was working on this post when I received a phone call with a bad report from the doctor’s office. Please excuse me for being derailed from posting. Sometimes life gets in the way. Sometimes you get news that you find so upsetting you can’t think straight. I’m hoping that it will turn out to be nothing, but forcing my mind to stay off the worst case scenario, researching on WebMD, and consulting other WEB medical sites has required my full attention.
Monday’s letter was H.
Haiku: A three-line, seventeen syllable poem, usually about nature. I’ve tried my hand at Haiku a couple of times and only managed a few meager poems. Some of these are beautiful. Some of the haikus, not my haikus. Mine were more like misguided limericks.
Hardcover: Book bound with hard cardboard cover, then covered with a paper dust jacket. There are very few books that I will spend the money on for a hardcover book anymore. However, having said that I will throw down some jack for a select few first edition hardcovers!
HEA: The Happily Ever After ending. This used to be standard fare for romance novels. It used to be standard fare for several genres in fact. Louis Lamour’s westerns typically had the HEA with the hero riding off into the sunset at the end after beating the bad guy, getting the girl, saving the current town from ruin, and getting Timmy out of the well! The fictional world of HEA is a far better place than the current trend of noir, harsh reality within fiction. Seriously, who wants to read the same terrible tragedies that we lie?
HEMINGWAY CODE: Hemingway’s protagonists are usually “Hemingway Code Heroes,” i.e., figures who try to follow a hyper-masculine moral code and make sense of the world through those beliefs. Hemingway himself defined the Code Hero as “a man who lives correctly, following the ideals of honor, courage, and endurance in a world that is sometimes chaotic, often stressful, and always painful.” This code typically involves several traits for the Code Hero:
(1) Measuring himself against the difficulties life throws in his way, realizing that we will all lose ultimately because we are mortals, but playing the game honestly and passionately in spite of that knowledge
(2) Facing death with dignity, enduring physical and emotional pain in silence
(3) Never showing emotions
(4) Maintaining free-will and individualism, never weakly allowing commitment to a single woman or social convention to prevent adventure, travel, and acts of bravery
(5) Being completely honest, keeping one’s word or promise
(6) Being courageous and brave, daring to travel and have “beautiful adventures,” as Hemingway would phrase it
(7) Admitting the truth of Nada (Spanish, “nothing”), i.e., that no external source outside of oneself can provide meaning or purpose. This existential awareness also involves facing death without hope of an afterlife, which the Hemingway Code Hero considers more brave than “cowering” behind false religious hopes.
The Hemingway Code Hero typically has some sort of physical or psychological wound symbolizing his tragic flaw or the weaknesses of his character, which must be overcome before he can prove his manhood (or re-prove it, since the struggle to be honest and brave is a continual one). Also, many Hemingway Code Heroes suffer from a fear of the dark, which represents the transience or meaninglessness of life in the face of eventual and permanent death.
Hook: A narrative trick in the lead paragraph of a work that grabs the attention of the readers and keeps them reading.
HOMILY: A sermon, or a short, exhortatory work to be read before a group of listeners in order to instruct them spiritually or morally. Examples include Saint Augustine’s sermons during the patristic period of literature. Chaucer himself took two Latin tracts on penitence, translated them, and turned them into a single sermon by placing the text in the mouth of the Parson in “The Parson’s Tale” in The Canterbury Tales. In the Renaissance, the content of English sermons was governed by law after King Henry VIII, becoming an avenue for monarchist propaganda. I find this term is often misused by many authors. I don’t know what they are referring to when they use it but it isn’t this.
Homonyms: Words that are spelled and pronounced alike but have different meanings. For example – pool (of water) and pool (the game).
Tuesday’s (Today) letter is I.
(See, I knew you’d get the HI eventually!)
ICEBERG – THEORY: Hemingway’s idea that good writing should consist of simple, direct sentences and plain description on the surface, but beneath that simplicity should be hints of psychological tension or symbolic depth suggested by what is visible above. He told an interviewer, ” I always try to write on the principle of the iceberg. There is seven-eights of it under water for every part that shows.” What remains unspoken or unwritten may be as important as what appears in the text.
Imprint: Division within a publishing house that deals with a specific category of books.For example, Harlequin has several imprints. Mira, Silhouette Desire, Nocturne, Historical Undone, Romance Suspense, Harlequin Teen, Steeple Hill are just some of the imprints from Harlequin.
Irony: When a person, situation, statement, or circumstance is not what it seems to be, but the exact opposite.
IDEAL READER: The imaginary audience who would, ideally, understand every phrase, word, and allusion in a literary work, and who would completely understand the literary experience an author presents and then responds emotionally as the writer wished. Something my social media coach taught me, make a wanted poster for my target audience – the group of ideal readers.
IMPLIED AUDIENCE: The “you” a writer or poet refers to or implies when creating a dramatic monolog. This implied audience might be (but is not necessarily) the reader of the poem, or it might be the vague outline or suggestion of an extra character who is not described or detailed explicitly in the text itself. Instead, the reader gradually learns who the speaker addresses by garnering clues from the words of the speaker.
INFIXATION: Also called epenthesis, infixation is placing an infix (a new syllable, a word, or similar phonetic addition) in the middle of a larger word. Some languages regularly use infixation as a part of their standard grammar. In English, infixation is often used in colloquialisms or for poetic effect. Shakespeare might write, “A visitating spirit came last night” to highlight the unnatural status of the visit. More prosaically, Ned Flanders from The Simpsons might say, “Gosh-diddly-darn-it, Homer.”
INTERNAL AUDIENCE: An imaginary listener(s) or audience to whom a character speaks in a poem or story. For example, the duke speaking in Browning’s “My Last Duchess” appears to be addressing the reader as if the reader were an individual walking with him through his estate admiring a piece of art. There are suggestions that this listener, whom the duke addresses, might be an ambassador or diplomat sent to arrange a marriage between the widower duke and a young girl of noble birth. This term is often used interchangeably with implied audience.
Boy oh boy, let me tell you if that didn’t play havoc with spell check!
Write on my friends, write on!
Till next time,
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