This post is going to be about words, starting with Maddie\u2019s question on November 11, 2010: I have a little spell-checker on my computer. It also tells me the average reading level of the stuff that I’m writing, and it’s not huge. Is it always necessary to add in bigger words, or is it ok to not use huge words as long as your plot is suitably twisted? (i.e., I don’t want to be the next Dr. Seuss, although I do love his stuff… :D)<\/i><\/p>\n
My advice is to ignore the reading level on your spell checker, because it doesn\u2019t tell you much that\u2019s meaningful. Word length and reading level based on word length and average number of words in each sentence may determine the age of the child who can<\/i> read a particular book, but they have nothing to do with the age of the child who should<\/i> read it. Animal Farm<\/i> (middle school and up) by George Orwell is a perfect example. I read it when I was in third or fourth grade and thought it an interesting story about animals. The allegory flew over my head until my older sister let me in on the secret.<\/p>\n
In the case of Animal Farm<\/i>, it\u2019s not a matter of plot twists either. The story is straightforward, no subplots that I remember; the book is only 128 pages long. What\u2019s sophisticated is the meaning.<\/p>\n
Another example is What Jamie Saw<\/i> by Carolyn Coman, which is a miracle of a book. It\u2019s told from the POV of a nine-year-old boy. Very simple story, also no plot complications that I recall, only 126 pages long, yet it\u2019s a young adult book, definitely not for actual nine-year-olds. In this case, the reason is the subject, which is child abuse.<\/p>\n
I like short words (and long and medium-size ones). Short words have power. And so do short sentences. They\u2019re punchy. Sometimes we can get a good rhythm going with short sentences – and sometimes with long.<\/p>\n
POV is another determinant of the sort of vocabulary that best suits a story. In What Jamie Saw<\/i>, the author was limited to words that Jamie would know, and he wasn\u2019t a child vocabulary prodigy. If you\u2019re telling your story from the POV of a child or someone without much education, you\u2019re stuck with a limited vocabulary. But even if your POV character is erudite, she may prefer not to show off her erudition. She may like to be simple and clear, even when she\u2019s in a complicated situation or dealing with a difficult subject, like chaos theory. The sesquipedalian word may come to her only when it\u2019s the sole way to express an idea.<\/p>\n
When you\u2019re using a third-person narrator, it\u2019s up to you and whatever serves your story.<\/p>\n
When I\u2019m reading I like to come upon a few words to look up, but I don\u2019t want to need my dictionary three times in every paragraph. When I write I don\u2019t dumb down my vocabulary for kids. If they need to go to the dictionary more often than I enjoy as a reader, that\u2019s okay. They\u2019re kids, and their vocabularies need building. On the other hand, I don\u2019t want to write an impenetrable book. Sometimes I help by making a meaning clear through context.<\/p>\n
A convoluted plot is unconnected to word choice. You can tell a complex story using simple language or six-syllable vocabulary. I don\u2019t think most third graders will be able to follow a tale that weaves together six subplots, for example. Adults will get lost too in a Byzantine plot. I will, and I\u2019ll give up unless I\u2019m completely in love with some element of the story.<\/p>\n
Moving along to a related topic, Mysterygirl, Alexandra, April, and Marissa, all posted comments about words that were banned in school. Some teachers called these \u201cjail\u201d words, mostly simple words. Mysterygirl gave examples: good, bad, said, sad, mad, happy, grumpy, big, small, medium, love, calm<\/i>. One of April\u2019s teachers hated nice<\/i>.<\/p>\n
I sympathize with these teachers, who want to develop their students\u2019 vocabularies. If this is what your teacher is demanding, I suggest going along in your school work. I\u2019d say go your teachers one better. Wow them. For example, instead of grumpy, give them irascible, peevish, querulous, vinegarish. Use your thesaurus. It will help all your writing. For the heck of it, try for words your teachers will have to look up – unless they have no sense of humor.<\/p>\n
After you blow your teacher away with your fab vocab, you might ask for an exemption from her rule just for you, unless everyone in your class will hate you. But if you don\u2019t get the exemption, tough it out.<\/p>\n
And in the stories you\u2019re not writing for school, forget about jail words and words that are allowed to run free. The dictionary is your pasture. Graze at will on the weeds along with the grass and the flowers. Be a free-range writer.<\/p>\n
Out of curiosity I just did a word search on the word nice<\/i> in one of my Princess Tales<\/i>, Cinderellis and the Glass Hill<\/i>. In that book I used nice<\/i> eleven times, which I was aware of and did deliberately. The main characters in this book are simple people, even though one of them is a princess. Nice<\/i> appears in the thoughts of the two mains. It\u2019s what they\u2019re both looking for. I used pleasant<\/i> once, amiable<\/i> not at all. Amiable<\/i> wouldn\u2019t have fit the tone I’d set.<\/p>\n
Having said that, I am alert to word repetition when I write and when I edit. If I think I\u2019m overusing a word, I write it in a list above my story, and when I\u2019m done, I search for the word. If it is showing up too much, I hunt for synonyms to substitute. My editor is amazing at picking up word repetition too. She catches the ones I miss.<\/p>\n
Obviously there are words we have to use again and again. Prepositions are unavoidable, for example, and we can\u2019t do without the<\/i> appearing a million times.<\/p>\n
Marissa\u2019s teacher didn\u2019t let her students use the word said<\/i>. Again, if you have to listen to your teacher, you have to. But said<\/i> is a special case, and it should be used repeatedly. I devote an entire chapter to said<\/i> in Writing Magic<\/i>. In brief, said<\/i> (and ask,<\/i> too) disappear. We see who\u2019s speaking and move on. Substitute words, like exclaim, question, state<\/i>, just draw attention to themselves and away from the action and what\u2019s being said. What\u2019s more, exclaim<\/i> and question<\/i> and query<\/i> are unnecessary because the punctuation tells us everything. Words like vocalize<\/i> and express<\/i> are simply awful, in my opinion.<\/p>\n
Sometimes repetition sets up a rhythm that\u2019s pleasing, and sometimes you want to break the rhythm. Sometimes you\u2019re not sure and just have to pick, and sometimes both choices are equal. Aaa! Writing is hard!<\/p>\n
Here\u2019s a prompt:<\/p>\n
I learned to read on the Dick and Jane<\/i> books, which were heavy on repetition and low on excitement, but they did the job for me. Below are four sentences from one of the books. I don\u2019t know why each sentence gets its own line within a single quotation:<\/p>\n
Father said, \u201cDown, Spot.
\nRun away, Spot.
\nYou can not go.
\nYou can not go in the car.\u201d<\/p>\n
There\u2019s drama here. I wouldn\u2019t want anybody\u2019s father to tell the family dog to run away. Your challenge is to rewrite the dialogue at least three ways, fooling around with vocabulary. Father\u2019s speech can go on for four pages. He can be a vampire if you like or whatever else. Spot can be a talking dog or a werewolf.<\/p>\n
If you want to, turn the situation into a story, a novel, a seven-book series.<\/p>\n
Have fun, and save what you write!<\/p>\n","protected":false},"excerpt":{"rendered":"
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