There are many stylistic choices we have to make, as
writers. In fact, there are many stylistic choices we don’t even realize we
make. They come to us as part of our voice, things we do unconsciously to make
our prose different from your average textbook.
For instance, I tend to use random single-word paragraphs to
add emphasis to certain concepts, and to build tension and emotion in the
reader. In addition, the vocabulary I use fluctuates between simplistic word
choices and spontaneous use of esoteric terms for no discernable reason.
One common stylistic choice is that of repetition. You’ll
find it in movies, where a character action or short clip of movement is shown
several times through the story to communicate a specific emotion or idea. For
instance, in Gladiator, there are
three or four (I can’t bother myself to actually go confirm which it is) times
where the same basic clip of the main character running his hand through stalks
of wheat as he walks through his field is used to communicate very specific
concepts and emotions.
Today, I’d like to take a look at this specific stylistic
style, and examine the ways it appears in the stories we tell and the powers
and dangers therein.
The Character Repetition
When it comes to repetition and characters, there are two
basic ways they work together: symbolic
and developmental. The first is in the way a certain character represents
something in several instances. A good example of this is Gandalf from Lord of the Rings. He’s repeatedly shown
as a man of mercy and wisdom, as a way to create a theme.
The repetition comes in the similarity of the scenes where
he is portrayed this way, because the scenes that show his wisdom and mercy are
closely related and near-identical in layout.
The latter combination of repetition and character supports
character development. You find this sort of repetition mostly in minor
characters. We call these character handles, bits of characterization that we can identify them with: repeated use
of a scar or a twitch of the eyebrow or the type of clothing they wear.
This sort of repetition is handy when we have a single-scene
character who is never named but needs to be recognizable from the rest. It can
be dangerous, however, to use this sort of repetition as sort of crutch:
choosing to use character handles rather than actually developing characters.
Dialogic Repetition
Another sort of repetition, one that I feel is underused and
a fantastic way to develop characters and your story world is that of repeated
dialogue. Whether this is entire conversations or individual words, dialogic repetition has powerful
implications on your story. Firstly, pay attention to conversations you’re
a part of. You’ll find that people use a lot of the same words in many of their
sentences. People have their “favorite” words, words they use a lot in
conversation. Whether they’re actual words or some sort of pseudo-word that
they use to mean something useful, they have those favorite words.
When a character has a word they use a lot, it shows their character.
Whether it’s a beggar who uses “extravagant” a lot because it’s the biggest
word he knows, or if it’s a Sicilian repeatedly saying “inconceivable”.
Another way dialogic repetition comes in handy is for
showing worldbuilding. Many facets of worldbuilding – religion, politics,
familial relations, economics/currency, and more will have words or phrases
that are repeated quite often. Be it ritualistic words in a religious rite or a
child calling their paternal figure “da” instead of “dad” or their aunt “sister-mum”,
repeated use of these words and phrases can show a good deal of your
worldbuilding without having to linger.
For instance, in Agram
Awakens I have a religion that shows up repeatedly, and so I had to develop
it. One thing I developed was the burial rites that people of this religion
followed. This may seem odd, but considering the characters I had who followed
this religion, this was extremely handy for my worldbuilding. I was able to use
the ritual words of blessing along with actual burial practices to show a great
deal about the characters and the world, all while maintaining the plot and
pacing.
Word Choice Repetition
One of the subtlest and most powerful forms of repetition is
that of word choice. This is one that requires a good deal of observation and
experience to really notice, but once you can, those authors which do this
stand out from the rest. Careful repetition of specific words can prime your
reader to receive messages they couldn’t otherwise understand. I say prime
because it’s unconscious unless they’re paying close attention.
It’s hard to fully describe this sort of repetition, because
it is very subtle and unnoticeable. One of the best examples I can think of for
this are the works of Nathaniel Hawthorne. While his purple prose can be
difficult to push through, but once you do, you find beautiful imagery and some
of the bluntest repetition you’ll find. The Christian Bible is also known for
the repeating of specific words in a passage to encourage the right mindset; Death of a Salesman by Arthur Miller
also uses repetition, though it’s less obvious.
In short, word choice repetition exams the goals of the story/novel/scene and attempts to find key words
that can be used in multiple ways and contexts to prepare and point the reader
toward those goals and the outlying themes around those goals.
All repetition has potential to be powerful, done right. Whether
your repetition is character handles, dialogic worldbuilding, or theme
developing, it’s useful in many ways. Many, many ways.
Ooh, I like the idea of the repetition in dialogue, favorite words and the like.
ReplyDeleteI'm reading the Scarlet Letter for school in a few weeks, so I'll definitely keep an eye out for the word choice.
Repetition in dialogue is actually my favorite kind. It show attention by the author, I feel, to character quirks that are more than surface level.
DeleteYes do! Sometimes he gets a little wordy and I don't always like his purple prose, but he's really quite good at many of the more technical parts of writing.