The term "staccato" has been extended from its musical origins to vividly characterize patterns of speech and expression in literature. In many instances, authors use it to denote clipped, abrupt deliveries—whether it is a hoarse bass quality in Dostoyevsky’s narrative [1] or a rhythmic, almost mechanical cadence noted by Nietzsche [2]. In works ranging from Bret Harte's portrayal of a character's brief, gendered cry [3] to George Eliot’s depiction of Celia’s amiable or quiet utterances [4, 5, 6, 7] and Her Wharton’s description of a sighing tone [8], "staccato" encapsulates the idea of fragmented, punctuated communication. Even Chekhov’s characters exhibit staccato laughter [9, 10] and Emily Post notes its bland drawl in everyday speech [11], revealing that the term not only highlights a musicality in language but also serves as a commentary on the rhythm and texture of human interaction.