From utilizing sentence length to set the pace of a section, to playing with punctuation to allow readers a welcome breather, to intentional repetition of words for emphasis and impact, rhythm is one of the most dynamic tools writers have at their disposal. Attention to rhythm in writing is also one of the best techniques a writer can apply to cultivate the ever-important, often-illusive author voice.

Read on to learn some helpful tips for maximizing this vital literary element.

Tip: Vary the length and complexity of sentences.

Meaty sentences for readers to really savor can be delicious. But fill an entire novel with them and readers may feel like they are choking. Short, simple sentences can serve as much needed palate cleansers to keep a reader engaged and wanting more.

Tip: Play around with sentence structure.

Playing around with sentence structure is a great way to utilize rhythm in your writing. Here are some ideas:

• Find sentences that start with the subject and try rewriting them to put the verb first, and vice versa.

• Experiment with (intentional and judicious!) use of sentence fragments.

• Swap clauses to see what reads best. For example:

Sheila preferred to go without a coat in the rain.

The above sentence provides a notable bit of character information about Sheila. But take a look at what happens with a simple rearrangement of clauses:

In the rain, Sheila preferred to go without a coat.

Restructured in this way, the sentence not only gives us information about Sheila’s character, but it also serves to better evoke her for the reader. A natural pause is created after in the rain, which allows a picture of rain to drop into the reader’s mind. It also reads as more declarative, so we get the sense that this is a bold and confident choice on Sheila’s part. Both are valid ways to write the sentence, depending on what you want to accomplish in that moment.

Tip: Get creative with punctuation (but know the rules first).

Commas and periods and dashes, oh my! Consider mining punctuation to enhance the rhythm of your writing. For example:

• For asides, a comma provides a softer, subtler touch. To make an aside really stand out, try an em-dash instead. If we want the reader to stop and consider something, parentheses are our best bet.

• Writers may think the semicolon has no place in creative writing. But used wisely, it can be highly effective in literature. For example, using it to connect two seemingly unrelated ideas can draw a line for the reader without the need to be explicit. Used this way, it can also be mined for humor. (Chimamanda Ngozi Adichie is absolutely brilliant in her execution of the unexpected semicolon. I highly recommend you pick up her novel Americanah for a masterclass in the use of this punctuation.)

• Three periods with spaces between (not to be confused with ellipses) create the illusion of a pause and can also illicit the impression of stuttering or faltering speech.

• While run-on sentences are generally a no-no, they do occasionally have a place. Take for example a character who experiences a manic episode. Writing their dialogue with a jumble of ideas all running together with little to no punctuation can very clearly illustrate the pressured speech common in mania. The caution here is not to overdo it; break up such dialogue with prose so as not to wear the reader out.

Tip: Try reading the work out loud.

Hearing our words read aloud, by us or another person, can be a great way to get a feel for the rhythm of the piece. Whether this method is useful for each of us may depend on how we process language.

I personally love hearing my plays read aloud. The way the dialogue sounds from the actors in a rehearsal room can spark ideas I never would have had on my own. On the other hand, I never read my fiction out loud. When I read silently to myself, I can hear the words very clearly in my own mind, complete with accents, varied speed, and emphasis.

Despite my training and many years of experience as an actor, my fiction rarely sounds as spot on when I read it out loud as it does in my head. I find it far more effective to read it to myself as though it’s being said out loud. The process and feeling when I read to assess the language are distinct from when I read for other purposes, such as to take in information or to enjoy a story. I must be intentional in order to read for assessment, and I must take my time in order to access this process in my brain.

This may not work for everyone’s brain. Many writers find reading their fiction out loud invaluable. Some prefer to ask another person to read it aloud to them (aside from stage plays, I do not find this helpful). Others like to utilize the text-to-speech feature in Word. Figure out what works best through thoughtful experimentation.

Tip: Synonyms are your friend.

Not only is precise word choice important for conveying ideas, it also plays an important role in the rhythm of a sentence. For example:

• Walked evokes a smooth pace, while the word skittered brings to mind a quicker, more staccato movement.

• For a lighter, breezier feel, we might replace traveled with gallivanted. As the reader hops through the additional syllables, they get the sense of the character bounding from place to place.

Tip: Read. Read. Read.

Take note of particularly effective passages. What worked? Similarly, pay attention if something doesn’t feel satisfying about the author’s use of language. Play around with what could be done differently. Maybe there are one too many syllables, or perhaps a little rearranging would do the trick.

Final thoughts

Use the above tips to improve the rhythm in your writing and help discover and refine your author voice. Above all, have fun. Language is a living, breathing thing. Experiment, play, be joyful and curious. Allow me to extend the rhythm metaphor a tad further: language is a writer’s instrument. So tune up, practice with intention, and go make some music.

Andrea Karin Nelson is the Founder & Executive Editor at Allegory Editing. In addition to her developmental editing work with published novelists, playwrights, and essayists, Andrea brings a unique set of experiences and skills to her editing craft. Twenty years as a writer and theater maker has developed her keen sense of story structure, plot and character development. Her plays have been commissioned and produced across the United States and performed in both English and American Sign Language. Fifteen years as a Master-Level, Certified Sign Language Interpreter has finely tuned her ear to the subtleties of language and the nuances of human interactions. And with over two decades as an educator, her teacher's heart allows Andrea to personally tailor her work with each writer. Click here to read an interview about Andrea’s journey founding Allegory. You can contact her at andrea@allegoryediting.com.