City of Bones opens at a dance club called Pandemonium. Inside, a demon searches for prey among the dancing humans. By slowing this scene down and choosing the correct words, Clare turns a simple walk across a crowded club into a sort of dance that also raises the tension in her novel. This is seen in passages like:
His hand tightened on the blade he carried and he had begun to step out onto the dance floor when a girl broke away from the mass of dancers and began walking toward him. (…) She smiled, passing him, beckoning with her eyes. He turned to follow her, tasting the phantom sizzle of her death on his lips. (3)
Despite the demon’s unsavory intentions, this passage has a clear flirtatious feel to it, at least from the girl who is later identified as Isabelle. She is acts almost predatorily with the way she moves around him, makes sure that he sees her and he watches. We know she’s constantly moving but readers may not realize how much it’s mentioned because Clare wisely chose her words carefully. Instead of several “walks” and “moves,” readers instead encounter “step out,” “broke away,” “neared him” and “passing him.” Keeping their constant movement from feeling repetitive as it would have if Clare had used the same set of words repetitively to tell the actions.
On the next page, the constant walking continues with the following passage but Clare’s choice of words only adds to the tension that the author has already started to build:
The girl was a pale ghost retreating through the colored smoke. She reached the wall and turned, bunching her skirt up in her hands, lifting it as she grinned at him. Under the skirt she was wearing thigh-high boots.
He sauntered up to her, his skin prickling with her nearness. (…)
A cool smiled curled his lips. She moved to the side and he could see that she was leaning against a closed door. No Admittance—Storage was scrawled across it in red paint. She reached behind her for the knob, turned it, slid inside. (…)
He slipped into the room after her, unaware that he was being followed. (4)
Here the words that Clare uses to show the girl’s movements up the tension in the same way that simply slowing the scene down does. The word “retreat” has conations of fear and prey attached to it. However the word sauntered is the opposite. Someone who saunters is confident, perhaps even a predator. And as readers are aware that the boy/demon wishes to make a meal of the girl, the tension is raised with those word choices.
In two pages, with the two above passages, Clare describes the boy and girl walking at least ten times and only actually uses the word walking once. Instead Clare uses descriptions like “retreat,” “sauntered,” or “pass” to add more tension and keep redundancy at bay.
Clare, Cassandra. City of Bones: The Mortal Instruments #1. New York: Simon Pulse, 2008. Print.