Quote:
Originally Posted by symetrik
lol'd.
yeah, consistency is always my weak point, I was gonna ask @ Ullr (or whoever) what makes a line flow in text? I'm audio, so I try to avoid 4/4 but can't always succeed.
it hurts me that @ sraL thinks I'm an alias |
I was going to PM but I'll post just in this thread so others can read and comment
At least by my view on it flow is just how effortlessly the verse is read, how consistent the schemes are and how little the reader gets tripped up by things changing unexpectedly and just creating a bad time for the reader
For example
This line flows 'cause as time goes it's not hard to read, but a bar for me is in my arteries, it's art for me to rip apart the schemes - I shred the excess, so anything that X says is sex affects your senses intentions of dense trends of text flows bend and flex -- etc etc
I keystyled that trying to use the line itself to explain a bit, basically, for a line to flow optimally it must have the following things:
Strong prevailing rhyme scheme
line flows/time goes A A
hard to read(b)/bar for me(b)/in my arteries(B)/ art for me(b)/ rip apart the schemes(B)
the next bit is a little harder to break down because it is doing what I refer to as "cresting" because the schemes and internals interact and affect one another and the result is a more rhyme dense but more difficult to define scheme of the line, you'd have to analyze that element looking at the actual sounds I introduced for the internals but the prevailing multi here was
X says is sex/dense trends of text/(flows) bend and flex
the (flows) was added because it allows me to hop to the next scheme without needing to change the entire thing, you can preserve a multi chain in this manner, and the flows was different enough that it punctuates it as something different
so like, it might continue
I shred the excess, so anything that X says is sex affects your senses, intentions of dense trends of text flows bend and flex those tend to stress ---
hereafter you could change the scheme entirely or lock into the multi and have a section where it is just the multis with literally no filler words
flows bend and flex those tend to stress November depths coal embers drenched prose rendered wrenched --
since the way the line is written prior it locks you into that very punctuating scheme repetition you as the writer can choose to utilize that to create even more density, but be careful you're not just throwing fluff because people will not like it if you're like cat hat mat pat fat rat!!! #barz but in the line prior there is still meaning intact despite the disjointing nature of the scheme I chose, so it results in a more rapid but more punctuated section of the verse
so as an aside, this is also helping your verse in that it creates different flows for sections rather than just adhering to that one flat flow that is pretty much synonymous with basic topicals
okay so this was a longer post than expected but yeah, this is at least an intro into what flow is on a text piece at least by my crazy definition, hope this helps and if you have questions feel free, I am actually thinking of doing a video series on this stuff because fuck man we spend so much of our lives perfecting it someone should learn from it tbh, I could invite guests and stuff and we can introduce the world at large to topicals as we each see them and our special brand of methodical madness lol