I’m really happy to introduce a guest writing experiment from Zoe Gilbert. She’s chosen a topic that I myself encountered in one of her excellent workshops – Zoe’s teaching is *highly* recommended (see link below), and so is her book Folk, a truly original work of fiction that was one of my favourite books of 2018.
Over to Zoe:
The English language is a richer resource than we might realise. Thanks to the influence of many languages arriving on our islands over the centuries, we have enough synonyms to warrant a thesaurus (not all languages have one of these). Especially useful to the creative writer is learning to distinguish between words with Anglo-Saxon, or Germanic, roots, and those that derive from Latin, or related romance languages. I like to call these two sets of vocabulary in English ‘heart’ language and ‘head’ language.
Germanic words are our heart language: they are direct, simple, concrete, and go straight to the heart with their emotional impact. Think of words like home, hearth, love, hate. They are sometimes onomatopoeic, blunt, informal or downright rude (think of the best swear words).
Latinate words are our head language: they are formal, academic, abstract, and appeal to the rational mind. Think of words like intellectual, superior, consideration, providence. They are sometimes emotionally distancing, elitist, technical or jargonistic.
Learning to spot which kinds of words you are using gives you the power to choose for effect. Think of the difference between writing ‘gut’ vs ‘intestine’, ‘sluggish’ vs ‘languorous’, ‘irk’ vs ‘displease.’ You can do this by feel, or enjoy an intense relationship with online etymological dictionaries until you get the hang of it.
If you want to create ‘oomph’, aim for Germanic language. If you want to prioritise the rational over the emotional, or create distance, use Latinate.
Exercise: take a scenario and write it twice, once using as many formal, Latinate language words as you can, and once using Germanic language words. Use a thesaurus or etymological dictionary if you get really stuck. You might find that the different words require different sentence structures, too.
Here are some scenarios to try out:
- An animal attacks its owner
- A lover ends an affair abruptly
- A person discovers something unexpected in their house
Alternatively, make up your own, or take one from a story you are working on.
Here’s an example of the first scenario, written two ways.
A When Phoebe saw the wound, anger flooded through her. Could she share her home with this fiend? In battle, which of them would win? She backed away, into the kitchen, to think through her next move.
B When Phoebe perceived the perforations to her epidermis, a sensation of acute hostility cascaded through her. Would it be possible to inhabit the same space as this demon? In combat, which of them would be victorious? She retreated to the kitchen to consider her strategy.
Zoe Gilbert is the author of Folk, currently longlisted for the Dylan Thomas Prize. Her work has been broadcast on BBC Radio 4 and she won the Costa Short Story Award 2014. She is currently completing a PhD on folk tales in short fiction, and teaches creative writing at London Lit Lab. You can find out about her courses on using folk tales in fiction here.
Back to Andrew: Thanks, Zoe! This really is one of the best exercises – really getting down into the mire of language. I remember being in a Zoe workshop where we forensically went through an Angela Carter story looking for Germanic and Latinate words – it’s a great exercise in reading too, and I am in fact very shortly going to be tasking students to look for Germanic and Latinate words in one of Zoe’s own stories.
If you’ve not read Folk, you can find out more here – I’m clearly not the only fan!
And before we go: on this day of days, let this exercise honour the many languages and cultures that have always made up these islands – and always will. Vive la différence!