Complications Ensue: Writing Styles Pt.2

Long, flowing prose, made up of the perfect words placed in melodic paragraphs, can be a pleasure to write, and even (occasionally) a pleasure to read. But the danger is that you’ll become mired in a swamp of indulgent vocabulary and wet spaghetti sentences. Complex doesn’t mean convoluted.

William Faulkner’s Barn Burning:

The store in which the justice of the Peace's court was sitting smelled of cheese. The boy, crouched on his nail keg at the back of the crowded room, knew he smelled cheese, and more: from where he sat he could see the ranked shelves close-packed with the solid, squat, dynamic shapes of tin cans whose labels his stomach read, not from the lettering which meant nothing to his mind but from the scarlet devils and the silver curve of fish - this, the cheese which he knew he smelled and the hermetic meat which his intestines believed he smelled coming in intermittent gusts momentary and brief between the other constant one, the smell and sense just a little of fear because mostly of despair and grief, the old fierce pull of blood.

You might think, Golly gee (which is how I imagine you talk) this is a wonderful description of a room, a town store that is being used as a makeshift courtroom, you can almost feel you’re there, and what a masterful job of realisation of a setting. Scene setting at its most vivid. And you would be wrong.

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Simply Irresistible

I’ve decided to do a couple of posts on writing styles. The first will be on clean, simple prose as mostly identified with writers like Ernest Hemingway or Raymond Carver.

This kind of writing, where you don’t use long words or complicated sentence structures is easy to read and can build into a powerful way to tell a story. However, simple does not mean simplistic.

Simplicity in writing refers to the external structure, the language you use, the number of events you cover, how you structure the narrative. But that is not the most important aspect for the writer to establish. The writer needs to know about the internal structure, what the story is about.

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M is for Maximum Minimum

One of the skills a writer needs is to be able to get the most out of the words he uses. It is relatively easy to go on at length about something and by doing so convey what you mean to the reader. If I describe something using as many words as possible you will eventually be able to visualise it. If I keep going it will get annoying. Once someone knows what you mean, they will not appreciate your eagerness to be extra super clear.

It is not just a matter of using the fewest words either. Simply stating facts in a literal manner ends up being very dull. But when you can concisely convey what is happening and at the same time evoke an emotion, a strong tone and specific voice, then you start to create something beyond information, you create story.

It is something of an irony that the most efficient, succinct way to get across something that people instantly recognise and relate to is to use a cliché. If I say 'He had a face for radio' you know exactly what I mean and it is a clever way of saying it, and kudos to whoever came up with it. The thing is, it's easy to get a laugh with someone else's joke but that doesn't make you funny. Being an author is about authorship and you want people to know that what they're reading is you, it's your work and your ideas and you should get the credit (or blame).

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Behold, my powers of description!

Of all the different aspects of writing a story (character, story, plotting, theme, pace, suspense, what-have-you) by far the easiest to get on the page is description.  You may not know who Jack is, what he’s going to do or how he’s going to do it, but you can still get 400 words down about the boots he wears and the view from his window.

Describing stuff is a necessary part of any story, but it can also go on for quite a while. Certain genres suit a more flowery style (romance, fantasy, historical fiction) and literary fiction in general can tend towards a more deliberative use of language. But it's not enough to describe something well, you also have to know why you're describing it.

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