Compose

“Write music”

Gary Provost

In Gmail, when you want to write a new email, you click a button. But that button doesn’t say Write an email, it says:

You see, as a writer, you’re part composer because readers hear words as if they’re being spoken. They're attuned to rhythm, tempo, tone, and melody so we have to pay attention to how our writing sounds.

Phonetic stylistics can make a message more memorable and catchy, which is especially useful in advertising or marketing copy. This can help a brand or product stand out in a crowded market.

It can also make the content more engaging and enjoyable to read or listen to, thereby increasing the likelihood of the audience continuing to read or listen and retaining the information.

If used consistently, phonetic stylistics can contribute to a brand's unique style or voice, helping to reinforce brand identity and recognition.

It can help set a mood or tone in a piece of writing. For instance, soft sounds can create a calming effect, while harsh sounds can create a jarring effect.

When the words that share the same sounds also share a common theme or subject matter, alliteration can serve to underline and reinforce the main idea or theme.

One way to hear your own writing is to read it aloud. Doing that alone can help uncover some of the awkwardness you’ve inadvertently written in.

But you’ll hear the advice to “read your work aloud” with no further instruction. What should you even be listening for?

Here are five ways I compose my copy:

1. Alliteration
2. Assonance
3. Phonosemantics

1. Word length
2. Sentence length

Phonetic stylistics

Alliteration is a stylistic literary device that refers to the repetition of the same initial sound in a series of words or phrases in close proximity.

There are four types of alliteration:

1. Direct consecutive alliteration
2. Non consecutive alliteration
3. Mixed alliteration
4. Multi syllable alliteration

This is the simplest and most commonly understood form of alliteration, where the same consonant begins each word in a sequence.

Example: Brown bird

In this type, the alliterative consonants are not immediately next to each other.

Example: Beneath the bridge

This type uses a mix of different consonants in a strategic way to emphasise different parts of the sentence.

Example: Books scattered about, a brimming mug of coffee at her side, Hadiqa worked into the night.

Here, the alliteration occurs on the same stressed syllable of multi syllable words, not necessarily the first syllable.

Example: Her subtle gaze pierced his ruse.

In this example the alliteration is the “z” sound in “gaze” and “ruse”.

Phonetic stylistics

If alliteration is a repeating consonant sound, assonance is a repeating vowel sound.

Example: In the hushed afternoon, a soft song echoed from a library corner.

In this example the “o” sound in “soft”, “song” and “corner” is subtly repeated.

Phonetic stylistics

Phonosemantics, or sound symbolism, is the idea that vocal sounds carry meaning in and of themselves. While not universally accepted in linguistics, there is evidence to suggest that certain sounds can evoke certain feelings or associations.

Basically, words come with feelings.

For example, many languages have a word for “mother” that includes a soft nasal sound like “m”:

• Mama
• Mutter in German
• Madre in Spanish 
  
  

In English, we often associate words with lots of long vowels and soft consonants, like “l” or “sh” as being gentler than words with lots of short vowels and hard, plosive consonants like “p” or “b”.

Consider these two words, which you could argue are synonyms.
 

1. Careful
2. Prudent
   
   

Careful has an air of the attentive, while prudent suggests an aversion to risk. Careful suggests action today, while prudent suggests preparation for the future.

Careful is a rounder word, a more familiar word, and a more loving word. Full of care. Prudent is a sharper word, a financial word, a calculating, well prepared word.

You can see phonosemantics in action in character names.

Was Dumbledore ever going to be evil with a name like that? And, what kind of kids might end up in Slytherin? The good in Sirius Black and Severus Snape was hidden behind sharp names on purpose.

Could The Shire have ever been home to the plotting of Orks and Goblins, or were they always destined for Mordor. And which of Gandalf or Saruman is the wholesome wizard and which one is wicked?

Let's deconstruct the composition of that last sentence as an example.

"And which of Gandalf or Saruman is the wholesome wizard and which one is wicked?"

I purposefully chose to describe Saruman as “wicked” because it ran on so nicely from “wizard” five words before. The repetition of “which” is also on purpose. Apart from reflecting the “w” sounds around it, there's an interesting play on the homonym “witch” in a sentence of wizards.

Then there's the “w” sound of “one” without the “w” visual. And, the visual “w” of “wholesome” without the “w” sound. “Gandalf” and “Saruman” are welcome as new sounds to the party.

My sentence borders on abuse but I’ve left it because it’s the only one I’ve pushed that far. I composed it primarily to carry my meaning, but also to look and sound pleasing.

Sorry if you're unfamiliar with Harry Potter or Lord of the Rings. But, that's also the point. You can feel things without ever reading a single line from Rowling or Tolkien.

There are two types of abuse. Avoid them.

The overuse of phonetic stylistics can make a piece of writing sound childish or overly poetic, which may be inappropriate in more serious or formal contexts.

Sometimes, in an attempt to compose, a writer may choose words that aren't the best fit for the content or context, which can lead to awkward phrasing or confusing messages.

Variation

The art of copywriting often revolves around the idea of balance. One such equilibrium to consider is the variation in word length. This isn't about choosing short words over long ones or vice versa. Rather, it's about composing a symphony of language where short, medium, and long words harmonise to create engaging, readable, and compelling copy.

Varying word length in your copy can make a remarkable difference to your writing's effectiveness.

Here's how:

The rhythm created by varying word length can pull readers along, making your writing more engaging and easier to digest. It creates a sense of dynamism, preventing monotony and ensuring the reader's interest is maintained.

Longer words tend to slow down the reading pace, creating a more reflective or serious tone. Shorter words, on the other hand, can speed things up and inject energy or urgency into your copy.

With a diverse vocabulary at your disposal, you can choose the most accurate and evocative words to convey your message, whether that means using a longer, more complex word or a short, punchy one.

Example:

Take a look at the following examples to see this principle in action:

1. Short = Drive safe
2. Medium = Navigate with caution
3. Long = Manoeuvre with utmost vigilance
   
   

The choice of words changes the pace, tone, and even the formality of the message. The variation between short, medium, and long words allows for a more engaging and dynamic reading experience.

Here are some strategies to help you master the variation of word length in your copy:

Everyone has a natural style or rhythm to their writing. Be conscious of your tendencies and mix things up as needed.

While you want to demonstrate a robust vocabulary, don’t shun simple words. They can often be more powerful and direct than their longer counterparts.

Long words can be impactful, but they can also slow down reading speed and may cause reader fatigue if overused.

Try substituting words and see how it changes the feel and flow of the copy.

While variation in word length is useful, beware of the following pitfalls:

Using excessively long words can lead to confusion or come off as pretentious. Always consider your audience and the context. If a simpler word will do the job, use it.

On the other hand, relying too heavily on short words can make your writing seem simplistic or juvenile. Don’t be afraid to use longer words when they fit naturally and add value to your message.

Remember, variation in word length is not a rule to be followed rigidly, but a tool to enhance your copywriting. Strive for a balanced and intentional mix that suits your message and audience.

Variation

Like varying the length of your words, varying your sentence length is a vital tool in your copywriting toolkit. The aim here is to weave together sentences of varying lengths to craft a text that’s rhythmically pleasing, compelling, and engaging for your readers.

The variation in sentence length plays several key roles in your writing:

Like varying the length of your words, varying your sentence length is a vital tool in your copywriting toolkit. The aim here is to weave together sentences of varying lengths to craft a text that’s rhythmically pleasing, compelling, and engaging for your readers.

Short sentences can evoke excitement, urgency, or abruptness. Longer sentences might create a more reflective, sophisticated, or relaxed tone.

Short sentences are typically more direct and to the point, whereas longer sentences allow for more complexity and nuance.

Example:

Consider the following example:

"The morning dawned bright and clear. Birds chirped. Sunlight poured through the window, casting a glow on the room. It was a perfect day."

The short sentence "Birds chirped." stands out, offering a neat statement that underscores the simplicity and beauty of the scene. Meanwhile, the longer sentences provide additional detail and atmosphere.

Here are some practical strategies for varying sentence length in your writing.

Decide what you want to say, then choose the sentence length that best serves your message. Where do you want to place emphasis? Is that better served by a short two word sentence or a longer one to build momentum?

If you find your sentences are uniformly long or short, try breaking up longer sentences with full stops or combining shorter ones with linking words like “and”, “but”, and “also” to prevent a robotic delivery.

You can control the pace perfectly well with just the full stop and the comma. You’ll never see me use the semi colon.

This can help you hear the rhythm and identify places where sentence length can be varied for greater effect.

As you work on varying sentence length, watch out for these potential issues.

While they can add detail and complexity, overly long sentences can also become convoluted and hard to follow. Too many long sentences make for a legato sound where the work is slurred with no pause for air.

Too many short sentences in a row can make your writing feel choppy, abrupt, or simplistic. Too many clipped sentences make for a staccato sound where the work is disconnected.

Remember, the goal isn't to prescribe a certain formula of short and long sentences but to create a varied rhythm that carries your reader along and keeps them engaged from start to finish.

There is no better example of sentence variation than American author, Gary Provost’s call for us to write music. I won’t compete with him, I’ll just hand the mic.

"This sentence has five words. Here are five more words. Five-word sentences are fine. But several together become monotonous. Listen to what is happening. The writing is getting boring. The sound of it drones. It’s like a stuck record. The ear demands some variety.

Now listen. I vary the sentence length, and I create music. Music. The writing sings. It has a pleasant rhythm, a lilt, a harmony. I use short sentences. And I use sentences of medium length.

And sometimes when I am certain the reader is rested, I will engage him with a sentence of considerable length, a sentence that burns with energy and builds with all the impetus of a crescendo, the roll of the drums, the crash of the cymbals—sounds that say listen to this, it is important.

So write with a combination of short, medium, and long sentences. Create a sound that pleases the reader’s ear. Don’t just write words. Write music."

As long as your meaning isn't distorted, you should compose the order, length, and sound of words, sentences, and paragraphs to make things vivid, interesting, and memorable.