It would be quite noticeable if its syllabic structure were to suddenly change, for instance, to: “I do not like them, Sam-I-Am, in juxtaposition with the sheriff of Nottingham.” “I do not like green eggs and ham, I do not like them, Sam-I-Am.” Every word in this sentence is one syllable. Seuss’s writing as a prime example of this: Now, this doesn’t mean you have to use the same syllable count throughout your entire short story instead, you just have to keep some syllabic consistencies within certain sections of your prose. To make your sentences sing, you must first establish your syllabic style. This same idea applies to the syllabic cadence you use to tell your story. Note that it’s not that the words themselves would be uncomfortable but that they are unexpected within that context. Imagine conversing with a toddler who spoke dominantly in words of four or more syllables.
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