 Short Stories: June 17, 2009 Issue [#3115] |
  Short Stories
This week: The Rhetoric of Repetition Edited by: KimChi  
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| The purpose of this newsletter is to spark discussion of a topic. For my final newsletter, we'll talk about repetition. |
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The big no-no: repetition. Why does it irk us so much? A pattern of repeated sounds becomes predictable and boring, like a college professor speaking in monotone. (Only the droning is inside your head.) Which is great for a lullaby, Catholic mass, or vision quest.
You want the reader awake, not in a trance.
Poetry and songs repeat. They also provoke emotion, so there must be uses for repetition in fiction, right? When is it okay to repeat yourself in a short story? Here are some ways I repeat myself; I'm sure you can find many more.
To highlight an idea or object.
The more you mention an idea or phrase, the more importance you give it, so be careful to send the right message. That cup of coffee probably isn't important enough to keep noting, unless it's laced with cyanide or infused with memories. Either way, the physical object is oftentimes less important than its associations, which can be shown in more evocative ways.
If there are few (or zero) synonyms for a word, you may need to repeat. No one complains about the duplication of of, and, or the, do they? You can also get creative with the description.
For example, in a story about a cat lady, you have few options. Cat/feline/pet gets boring, but we can look at him from another character's perspective (regardless of point of view). "Little bundle" gives a break to the reader's inner ear, and displays the relationship of a woman and her feline companion.
To foreshadow or prepare us for information.
Perhaps that cup of coffee really is just a cup of coffee. However, it could be a trigger for something else. Lay down a pattern, and we'll gobble up the clues, eagerly awaiting the next breadcrumb.
So maybe Liz hears news about her ex-husband, Todd, every time she picks up a mug of coffee. The reader waits for the next coffee break, for surely more information will surface about Todd. We're secretly wishing he'll call or drop in on Liz. If he doesn't we may feel mislead.
This repetition has a purpose; it clues the reader into an important plot or subplot connection. There's trouble brewing. (Sorry, couldn't resist!)
The repeated idea can move the plot forward as above, illustrate a recurring theme, or show a character's personality. Work the repetition into the story with care and deliberation and it will feel seamless.
For rhetorical flourish.
We love the beauty of words. We love the symmetry of flowing phrases. We love rhetorical devices-they bring out our inner Cicero.
The symmetry can be in the same sentence, the beginning of each paragraph, the end of a sentence-pretty much any pattern that works. (Each rhetorical device has a Latin name few people can remember.) In a fairy tale you'll frequently see repetition of phrases. This aids in memorization as well as highlighting key ideas or dueling philosophies.
My favorite rhetorical device (see above) is to begin three sentences with the same phrase. The first two match, lulling the reader into a sense of security (anaphora), while the third holds a titillating, or contradictory (antithesis) phrase to bring the point home. Stretch or condense as needed to fit the rhythm.
It's all in the timing.
If repetition feels right for your story, then write on! Don't be afraid to use this handy tool like any other--deliberately, and in moderation. Any technique endorsed by the Brothers Grimm and Cicero can't be all bad.
 If you're ready to slash your way into the tangled forest of rhetoric, visit this site:
http://humanities.byu.edu/rhetoric/Silva.htm Have fun, and don't forget the breadcrumbs!
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Enjoy these stories with an eye and ear toward the repeated ideas. Please let the authors know how you feel about their piece.
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Feedback on emotions:
J. A. Buxton 
((Included because we don't have a "Long Stories" newsletter.))
I want to thank you for including part of my The Best and Worst of Times ongoing story in this week's newsletter.
I have a question, though. Why isn't there a newsletter for this category? There have to be many writers on WDC in the process of writing their first longer story. After cutting their teeth on shorter ones, they probably would welcome reading about ways to write novels, to keep the exciting going through dozens of chapters, and what pitfalls to avoid.
This is just a suggestion from one who loves writing longer stories.
I cannot answer your question. My guess is that longer stories belong in the newsletter of that genre. Most stories on site are short, so a newsletter devoted only to longer works may not be the most efficient use of resources.
Ladyoz
Thank you for featuring my little story. 
My pleasure.
An apple a day.... 
Great newsletter. I'm working on a short story now that needs this kind of emotional description. A writer without empathy for his characters may as well give up the pen!
I agree wholeheartedly.
sarahreed
Thanks for going over various techniques to insert emotion into a piece. I know I write emotions best when I'm feeling them, but it's often hard to sit down and write during the moment. Since I spend so much of my time away from my computer, as I'm sure most people do, I've gotten into the habit of keeping a small pad of paper and pen with me. It's been an invaluable tool, allowing me to jot down notes at a red light or even while in the restroom at work. The only obtsacle I haven't overcome is the shower - the paper gets wet and the ink runs. 
Hmmm... I get my best ideas in the shower, too. Someone should invent a voice-activated waterproof recorder for writers!
raynstorm
I think I am very conscious of the emotions in my stories. I'd even venture to say most of my stories are about recreating some emotion. At least, that applies to all of the ones in my HeartStrings folder. I'm not sure whether the emotion just inserts itself, probably not, since I set out with a specific purpose to recreate the intense emotion. I think I've just always been a passionate person and when I imagine a scene, what comes to me first is not how it looks, or smells or sounds, but how it feels. It seems to serve me well, since all of those stories have an award. Oddly enough the other genres I write don't include the same strength of that emotional element . . . hmmm
I hear you. It's easier for me to write about happiness and gratitude than pain and anguish. But I'm willing to challenge myself!
On a personal note, this is my last newsletter as a full time editor. I've been honored to share my thoughts on writing with you all, but I need time in real life to deal with health issues. I leave you with my most cherished belief:
Write with a wild heart; edit with a sledgehammer.
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