My writing style in the Lyria stories is interesting. I feel free to use whatever words I like best, which tend toward the fancy, but I try not to overdo it. I just use what comes up first, unless it sounds awkward, clumsy, or doesn't fit the style. I've noticed this before, to a greater degree, in "Channeling Icarus," an old story that takes place a long way away from Lyria's stomping grounds, but is also on the planet Orion, in the same fantasy storyverse. "Channeling Icarus" is narrated by Lord Reuben, a scholar of Demonology, and he is quite verbose and has a pretty fancy mode of speaking. (An example of Lord Reuben's speech: “Why not? You are neither aggressive nor, I presume, capable of violence against me in sufficient measure to protect yourself from me, should I choose to dispense with my humane mannerisms. Surely this gives you some cause for concern?” And an example with narration: “Dimensions to existence...? Great thunder, man, what are you on about?” My tone was perhaps a tad too harsh, but it was disguising my underlying fascination and expectation. As a scholar of many varied sciences, I have studied greatly (as have many of my colleagues) the various humours and vapours, aethers and phlogistons of existence, as well as the nature of creation itself. The notion of time being a dimension to life had only recently come to light, and I wondered suddenly if this is what he meant.
Lyria is more plainspoken, but her speech is still influenced by the area, which has some similarities to Lord Reuben's area (wherever that is). The narrator in the Lyria stories is an unidentified third-person omniscient selective, as is my usual style, but it, too, is influenced by the area Lyria lives in. I think it's subtle, being - for the most part - relatively plain speech; but there are words in it, and ways of speaking, that I hope put the reader into a different state of mind as they read it, words like "countenance" coming up on occasion, as in "As was her custom, Lyria did not countenance any talking during the meal."
Also, though Lyria has been to Earth, learned a whole bunch of science on Earth, and knows all the correct terminology, she uses the local scholarly terminology instead, at least around Forizano; saying "hereditary code" instead of DNA, and referring to the neuron connections in the brain as the brain's "patterns." There are also different names for some things; for example, coffee is café, and chocolate is cokolada.
Then, too, some names for things come from Forizano's ignorance. The best example I can think of (only example I can think of offhand) is that he calls a piano a "percussion harp."
I do NOT use thees, thous, prithee, or any of that archaic stuff, though. I don't even think "twas" has come up.
Actually, looking it over, it doesn't look much different from my normal writing, except for a few more less-than-commonplace words here and there, the wording on occasion, and the dialogue. A lot of what makes it different is actually hard to quantify.
By the way, I'm four pages into writing "Becoming," the latest Lyria story, and hopefully the last story of the connected series of stories wherein Forizano is brought into the fold. What I'd meant as one story became two connected stories, and now is three. I do so hope to progress with this tale and finish it so I may sally onward with the next planned tale, which is to take place some months after the current three stories.
Ha! That last paragraph was unintentionally a perfect example of the style of writing I was elucidating upon.
Crossposted from http://fayanora.dreamwidth.org