posted on azhdarchid.com There's this persistent idea in discussions of iambic pentameter that the English language is "naturally iambic." This isn't really true at all – it's kind of a meaningless statement. What is true, however, is that English does feature a lot of two-syllable words, and a lot of recurring pairs of one-syllable words that tend to be stressed as iambs; pairs like "up to", "go in", "if I," and so on.
These are the basic building blocks of iambic verse, and most texts written this way will favor shorter words. A very common sentence structure privileges one longer word surrounded by short little words; in the line "now is the winter of our discontent," the only long word is "discontent", which almost acts as a cornerstone for the whole line.
I found this practical approach to writing iambic pentameter very interesting. Although much of it is specific to that form, I think a lot of the concepts are generally applicable to verse writing. This is a useful tool in any writer's toolkit, even if you're not specifically writing poetry or stylized video games. A working understanding of the rhythm of text and how to align it with its meaning can do a lot to improve the flow even of pure prose, and understanding it better will certainly increase your appreciation of verse works like Shakespeare.
I found this practical approach to writing iambic pentameter very interesting. Although much of it is specific to that form, I think a lot of the concepts are generally applicable to verse writing. This is a useful tool in any writer's toolkit, even if you're not specifically writing poetry or stylized video games. A working understanding of the rhythm of text and how to align it with its meaning can do a lot to improve the flow even of pure prose, and understanding it better will certainly increase your appreciation of verse works like Shakespeare.