Rhythm doesn’t just apply to poetry. Prose has a rhythm too, which is why it’s a good idea to read your writing aloud.
Rhythm is not just about how fast or slow you read a piece. Rhythm can help create mood and atmosphere. In turn these can signal to a reader how a character is feeling, whether a character is in danger or whether a character is relaxed.
Long, languid sentences of multi-syllabic words slow a piece down. For example:
“Elizabeth dawdled around the oxbow lake on the estate which neighboured Longbourn as she thought over the letter she had received that morning. A breeze ruffled duck’s feathers as she ambled on her umpteenth round. She pictured Charlotte sitting at her worn desk in Rosings Park, another cast-off from Lady Catherine de Bourgh, a small well of ink, a newly-sharped quill and a fresh piece of paper. Charlotte’s cramped hand economical in the space it took. Perhaps it didn’t signal urgency after all.”
It’s not just the long sentences which slow the rhythm. Use of longer vowel sounds – “a”, “o”, “ee” – also act as a damper. Using full names rather than shorter nicknames also slow things down. How much interest do you have in the letter? Great for a scene where a main character is thinking things over or a breather between pacier scenes. But a whole novel would become a tedious read with readers tempted to skip sections to get to the action.
Short, staccato sentences of mono-syllables speed things up. For example:
“Lizzie ran. Her quick steps unladylike. The lake loomed larger. The conifers darkened. Rain threatened. She must get back to Longbourn. She must. Ducks squawked. All impeded her progress. No time. Charlotte’s letter sent post haste. Her cramped hand. The spiked letters. Lady Catherine’s face. Animated in anger. That meant urgency. Her friend needed her. Short sharp breaths. Come on Lizzie. Her lungs burned. Don’t stop. Keep up. She gasped. A stitch. Pain under her rib. Fingers in fists. Keep up. Lizzie ran.”
Shorter sentences speed up the pace. The shorter vowel sounds – particularly “i” – add to the sense of urgency. Elizabeth’s name and Lady Catherine’s title are shortened. The tension is ramped up. What was in the letter that made Elizabeth run? The pacier prose is great for conveying urgency.
Both examples have the same number of words, yet each is read differently because the different rhythms signal different readings.
However, it’s important to vary the tempo. If all the sentences are long and slow, the book will become a long slow read. If all the sentences are short and speedy, it might signal a pacey thriller, but how do you ramp up the tension at critical plot points if the prose is already running at full speed?
Contributed by Emma Lee
leicesterwritersclub.com 