snapology @snapologist - Tumblr Blog

not an apologizer but a contextualizer. yes the character did that but please understand the Circumstance. yes they had other options but they had to make this choice in a sea of available bad choices. and also it made the narrative more interesting. won't anybody think about the narrative!!!!!

weirwoodsugar

i kind of don’t relate to the way other people Hate fictional characters in fandom spaces most of the time because to me a character is first and foremost a vehicle for Making A Story so if the character does Story. then it’s good. i don’t know how to explain what i mean by this. the only time i feel like i dislike a character is when i feel like their presence is not interesting and isn’t doing anything for my experience of Story. you know.

reavo

You may like that guy but I like him in a worse and more perverted way than you

futureendeavored

free him he did some of that but his haters are annoying

said-snape-softly

Said Snape…

An analysis inspired by my username :)

There are about 300* times in the series that Snape’s delivery of dialogue contains additional descriptives beyond “said”, giving us insight into his tone. I thought it might be interesting to take a look at what this can tell us about Snape’s character. And if you’re a fic writer looking to have your Snape reflect canon!Snape as much as possible (or even if not, and you’re looking to make choices that will distinguish him from canon!Snape), I figured this might be a helpful resource.

[Adverbs] Snape says things…

...softly or quietly, most often, followed by coldly, coolly, or icily, and then smoothly, silkily, or sleekly.

This trend holds when we look across not just adverbs modifying “said” but all verbs of speech. Here's how those descriptors are used across the books in the series:

And here's what that looks like split up by the different eras in Snape's life:

Snape is most often described as saying things “repressively” or “dismissively” as well as “calmly”, “slowly”, or “deliberately” in his double agent days, which are adverbs that convey a certain amount of control over the conversation, information, and his own temperament. Taken together, this may reflect his increased caution and the high-stakes nature of information at this stage.

Although Snape displays little patience for those not at his level even in his teenage years (“just shove a bezoar down their throats” comes to mind), his dialogue only reflects this with adverbs such as “sharply” or “curtly” once he has established himself as an authority figure. We will see a similar pattern below with verbs and adjectives conveying impatience.

[Verbs] When Snape doesn’t simply “say” something, he…

...Most often is expressing a negative emotion: shouting, yelling, bellowing or snarling and spitting. The largest portion of Snape’s shouts occur in HBP, specifically in Flight of the Prince, as he tries to direct the Death Eaters to leave and faces Harry. But looking across these first two emotionally-charged categories, about 30% of these (perhaps not surprisingly) occur in Prisoner of Azkaban, where Snape is spends a notable chunk of the book in an extremely emotional state.

However, he's not always shouting or snarling; approximately 15% of the time when he is not simply speaking, he is whispering or hissing, which complements the 25% of the time that he is speaking softly or quietly.

Let's look at this in relation to Snape's timeline:

It's fitting that the majority of Snape’s inquiries occur after Voldemort’s return, when he returns to his double agent role, gathering intelligence.

I also think it’s interesting what we don’t see in Snape’s school days. In childhood/school there’s relatively little superciliousness—instead, we see more argumentation; Snape argues, demands, pants, splutters, and backtracks.

Snape’s brand of snippy impatience and condescension (sneered/snarled/snapped, etc) is most evident in his days as a professor (before Voldemort’s return through his years as a double agent). In his deep cover years it declines; he no longer has the time and he’s focused on the task at hand.

Let's now look at the adjectives used to describe Snape's tone. Snape says things in a tone of voice that is…

...Most often soft, low, or quiet, followed by cold or icy, and then by sneering or sardonic. I find it fitting that Snape’s tone is described as impatient in GOF and HBP, both books in which Snape spends the year on tenterhooks, waiting for the axe to fall.

When we look at how these adjectives are distributed across Snape's lifetime, we can see that Snape’s vocalizations described as “terrible” only three times, and they occur at pivotal moments: Lily’s death and his own. Additionally, Snape’s unconcerned or bored tone comes out during his double agent years, and 3 out of the 4 times it is used as an affectation.

Misc. notes: It is also notable when there are a lack of descriptors surrounding Snape’s speech altogether. There are definitely fewer in the first two books, likely given their shorter length and lower reading level. However, there are three moments in Deathly Hallows that, taken together, really stood out to me: The Dark Lord Ascending, Voldemort’s visit to Hogwarts to take the Elder Wand, and Snape’s meeting with Voldemort in the Shrieking Shack (no descriptions of speech besides "blankly", up until the moment of Snape’s murder, during which he protests and lets out a terrible scream). The lack of description of Snape's speech is a neat nonverbal way to convey to us readers the flattening effect of Occlumency.

Anyway, hope this was interesting, and I’d absolutely love to hear any additional insights you all pull out of this!

*This is by no means meant to be the definitive, exhaustive analysis of Snape’s speech. This was completed doing simple searches for dialogue with “Snape” (didn’t have the raw text to write a script or anything), so it’s entirely possible that I’ve missed several instances of Snape speaking when referred to as “he” and the dialogue in question is several lines away from his name. However, I believe those cases are relatively few, so I’m fairly confident that I have a majority of the instances in which Snape’s dialogue is described with an adverb, adjective denoting tone, or with a verb other than “said”. It’s likely the remainder would follow similar trends if they are dispersed sporadically throughout the series.

mollyjames

One of my favorite tropes is character with a nasty toxic personality who tries very hard to do the right thing anyway

mollyjames

I like my protagonists sad, tired, bitter, fully convinced they will never get the recognition they deserve, but they still gotta get up in the morning and be a good person

mollyjames

woobifiedvillain

Going insane about kicked dog with rabies type characters

woobifiedvillain

On a more serious note though perhaps I'm obsessed with this because I want more sympathy for characters who externalize their problems. Fuck being a perfect victim fuck being a decent one, something horrible was done to you and it was never recognized and you will never ever get back the person you were before, you had everything taken from you and now all you're left with is anger and sharp things and you know what. You should be able to bite people about it

tiny-blonde-rocket-woman

I dont watch TikTok, my friend sent me this. This how I imagine Snape would dance, if he were drunk at the Yule Ball🤣🐍💚🖤

yellowrotaryphone

So Harry just helped himself to some memories? Such a vulnerable moment for Snape. Here he is with his feelings.

#YEET

writeouswriter

Broke: Acknowledging that a character who is an objectively terrible person is also a complex and intentionally well thought out individual with different levels of nuance you can empathize with in some ways while not in others is immediately “woobifying” or “poor little meow meowifying” them.

Woke: “This character is a bad person” and “this character is still a person” are two statements that can, should and do coexist and admitting that they exhibit nuance and depth and are more than just their bad actions doesn’t immediately excuse or condone their bad actions or mean that you’re ignoring or trying to soften the canonical version of the character.

Bespoke: That’s the whole point, that’s always been the point, to be made to empathize with horrible people so you can understand that they can be anyone, that bad people can be likeable, can be interesting, can be human, are human, and it’s scary to think about all the ways they’re just like you and all the ways they’re just like everything you hate, forcing the use of critical skills in media analysis, forcing a confrontation of the duality of man.

Whatever Level is Above Bespoke: But sometimes, yeah, sure, maybe they are a poor little meow meow, what are you gonna do, get a lawyer