Variety, in writing

Warning- I fear this section could cause the writer to become to self concious. Also it is easy to go overbord with variety.

Of the many elements which affect the euphony of a theme none is more essential than variety. The constant repetition of the same thing grows monotonous and distasteful, while a pleasing variety maintains interest and improves the story. For the sake of this variety we avoid the continual use of the same words and phrases, substituting synonyms and equivalent expressions if we have need to repeat the same idea many times. Most children begin every sentence of a story with “and,” or perhaps it is better to say that they conclude many sentences with “and-uh,” leaving the thought in suspense while they are trying to think of what to say next. High school pupils are not wholly free from this habit, and it is sometimes retained in their written work. This excessive use of and needs to be corrected. An examination of our language habits will show that nearly every one has one or more words which he uses to excess. A professor of rhetoric, after years of correcting others, discovered by underscoring the word that each time it occurred in his own writing that he was using it twice as often as necessary. Got is one of the words used too frequently, and often incorrectly.

EXERCISES

1.	In the following selection notice how each sentence begins. Compare it with one of your own stories.

I was witness to events of a less peaceful character. One day when I went out to my woodpile, or rather my pile of stumps, I observed two large ants, the one red, and the other much larger, nearly half an inch long, and black, fiercely contending with each other. Having once got hold, they never let go, but struggled and wrestled and rolled on the chips incessantly. Looking farther, I was surprised to find that the chips were covered with such combatants; that it was not a duellum, but a bellum, a war between two races of ants, the red always pitted against the black, and frequently two red ones to one black. The legions of these Myrmidons covered all the hills and vales in my wood yard, and the ground was already strewn with the dead and the dying, both red and black. It was the only battle which I have ever witnessed—the only battlefield I ever trod while the battle was raging.... On every side they were engaged in deadly combat, yet without any noise that I could hear, and human soldiers never fought so resolutely.—Thoreau.

2.	Examine one of your own themes. If some word occurs frequently, underscore it each time, and then substitute words or expressions for it in as many places as you can. If necessary, reconstruct the sentences so as to avoid using the word in some cases. Notice how these substitutions give a variety to your expression and improve the euphony of your composition.

Sentence Length.—Euphony is aided by securing a variety in the length of sentences. In endeavoring to avoid the excessive use of and, some pupils obtain results illustrated by the following example:

Jean passed through the door of the church. He saw a child sitting on one of the stone steps. She was fast asleep in the midst of the snow. The child was thinly clad. Her feet, cold as it was, were bare.

A theme composed wholly of such a succession of short sentences is tedious. Especially when read aloud does its monotony become apparent. Though the thought in each sentence is complete, the effect is not satisfactory to the reader, because the thought of the whole does not come to him as fast as his mind can act. Such an arrangement of sentences might be satisfactory to young children, because it would agree with their habits of thought; but as one grows in ability to think more rapidly, he finds that longer and more complicated sentences best express his thoughts and are best understood by those for whom he writes. We introduce sentences of different length and different structure, because they more clearly express the thought of the whole and state it in a form more in accordance with the mental activity of the hearer. When we have done this, we at the same time secure a variety that avoids monotony. In attempting to avoid a series of short sentences, care should be taken not to go to the other extreme. Sentences should not be overloaded. Too many adjectives or participles or subordinate clauses will render the meaning obscure. The number of phrases and clauses that may safely be introduced will be determined by the ability of the mind to grasp the meaning readily and accurately. It is sometimes quite as important to separate a long sentence into shorter ones as it is to combine short ones into those of greater length. Notice in the following selection the different ways in which several ideas have been brought into the same sentence without rendering the meaning obscure:

Loki made his way across a vast desert moorland, and came, after three days, into the barren hill country and among the rugged mountains of the South. There an earthquake had split the rocks asunder, and opened dark and bottomless gorges, and hollowed out many a low-walled cavern, where the light of day was never seen. Along deep, winding ways, Loki went, squeezing through narrow crevices, creeping under huge rocks, and gliding through crooked clefts, until he came at last into a great underground hall, where his eyes were dazzled by a light that was stronger and brighter than the day; for on every side were glowing fires, roaring in wonderful little gorges, and blown by wonderful little bellows.

Conversation. It must not be inferred from the preceding section that short sentences are never to be used. They are quite as necessary as long ones, and in some cases, such as the portraying of strong emotion, are more effective. Even a succession of short sentences may be used with good results to describe rapid action. In conversation, also, sentences are generally short, and often grammatically incomplete, though they may be understood by the hearer. Sometimes this incompleteness is justified by the idiom of the language, but more often it is the result of carelessness on the part of the speaker. The hearer understands what is said either because he knows about what to expect, or because the expression is a familiar one. Such carelessness not only causes the omission of words grammatically necessary, but brings about the incorrect pronunciation of words and their faulty combination into sentences.

You speak much more often than you write. Your habits of speech are likely to become permanent and your errors of speech will creep into your written work. It is important therefore that you watch your spoken language. Occasions will arise when the slang expressions that you so freely use will seem inappropriate, and it will be unfortunate indeed if you find that you have used the slang so long that you have no other words to take their place. An abbreviated form of gymnasium or of mathematics may not attract attention among your schoolmates, but there are circles where such abbreviations are not used. By watching your own speech you will find that some incorrect forms are very common. Improvement can be made by giving your attention to one of them, such as the use of guess, or of got, or of don’t and doesn’t. In making a written report of conversation you should remember that short sentences predominate. A conversation composed of long sentences would seem stilted and made to order. What each person says, however short, is put into a separate division and indented. Explanatory matter accompanying the conversation is placed with the spoken part to which it most closely relates. Notice the indentations and the use of quotation marks in several printed reports of conversation.