Writers recognize the power of similes and metaphors. They are like flexed muscles in storytelling!
Years ago, I wrote a children’s picture book called “Park Pageantry.” The protagonist, Eliza, a child, strikes out on her own to stroll along a wooded path. Her mother, a few steps behind, keeps a watchful eye as the youthful explorer exerts her independence. Eliza studies all the familiar surroundings and objects. She envisions what they remind her of by their appearance. The rough bark of a tree trunk reminds her of the sturdy, wrinkled stump-like elephant’s leg. Crispy leaves crunch under her feet and remind her of a pile of potato chips. The intent of the “it reminds me of” theme is to cultivate a child’s imagination and go beyond seeing everything merely at face value. Many times, I’ve viewed rows of tulips as fruit-flavored lollipops—cherry, lemon, and orange—when gazing upon their long stems and vividly colored petals. And sometimes an image can spark a memory, hopefully a pleasant one! I never did market my book “Park Pageantry” but I still believe in the power of juxtaposing two opposite things that appear similar. The similar becomes the simile!
Dare I even mention the most popular simile of the last few decades? The iconic Forrest Gump is quoted oftentimes with the following: Life is like a box of chocolates, you never know what you’re going to get. In the 1994 film, Forrest states: “My mama always said, life was like a box a chocolates. You never know what you’re gonna get.” Both quotes are, undoubtedly, among the most recognized cultural similes, even thirty years later. But the 1986 novel, “Forrest Gump,” by Winston Groom opens with the following line. “Let me say this: bein a idiot is no box of chocolates.” Wow, what a totally different meaning, and the text is actually a metaphor! And Forrest goes on to explain, “…Now they say folks sposed to be kind to the afflicted, but let me tell you—it ain’t always that way. Even so, I got no complaints, cause I reckon I done live a pretty interestin life, so to speak.”
Anyone who’s seen the movie and/or read the book knows how Forrest Gump witnessed or participated in historic milestones, especially during the cultural revolution of the 60s and 70s. Years later, on a recent watch, I still remain fully invested in Forrest’s world with Jenny, Bubba, and Lieutenant Dan!
Conversely, metaphors employ a direct comparison. Here’s one of the most recognized metaphors from “As You Like It,” Shakespeare’s play: All the world’s a stage, and all the men and women merely players. The full monologue is referred to as “The Seven Ages of Man” and is one of my favorite passages from the Bard of Avon.
As an author, I tend to shy away from tucking too many similes and metaphors in my writing, especially the ones integrated into our spoken language. They may come off as clichés if used in prose. I can’t imagine describing someone is “as dead as a door nail” since Marley is already likened to one in Dickens’ “A Christmas Carol.” Yet, I might say it aloud to make a point. I’ve called someone “quiet as a mouse” when unaware of his or her sudden appearance. I’m sure I’ve uttered the phrase “clear as mud” more than I’d like to admit.
In my recently published novel, the protagonist Lori is haunted my recurring memories of family loss. Some days, she wished those memories would melt away like snow drifts. Her guardian and grandmother, Lottie, has a voice like a silk-edged wool blanket. My challenge is to not look back at these choices and view them as too sentimental or, uh, corny! If I read a book that uses lots of these literary devices, I become too aware of them. I think they should be sprinkled lightly for the greatest impact.
Metaphors are a bit more complex since there are different types: standard, visual, implied, and extended. The standard metaphor is used in Shakespeare’s monologue, as mentioned, “All the world’s a stage.” It compares two unlike things. An implied metaphor is not as direct since it doesn’t mention the actual thing the subject or object of comparison. For example, Lori screeched, “Stop trying to protect me!” which is comparing the character to a bird or other animal’s outburst or cry. A visual metaphor is a device popular in advertising and film. My first published short story adapted into a screenplay, “Scarred Angel,” shows an attractive woman, a hired assassin, with a visible scar on her cheek, a constant reminder of why she’s in the killing business. An extended metaphor is one that, typically, is used in poetry wherein a metaphor is introduced and lasts through several lines or verses to build the comparison.
And if we wanted to get picayune about it, there are what’s referred to as dead metaphors in that they’ve lost their meaning. According to an online reference, examples of dead metaphors are “melting pot” for diverse cultures or “kicking the bucket” for death. Although, as long as a metaphor is understood, I don’t think it has an expiration date!
Whether you use metaphors or similes or not, make sure you’re not covering old territory. Avoid clichés. If you can’t come up with something original, just skip it. If it’s a character that uses clichés as their form of speech, well, then it’s okay, because it’s defining the character, not your writing. Descriptions should be visceral. They should be a direct hit to the mind if not the soul of the reader. Happy writing!
testing