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How to write English prose (2023)

thelampmagazine.com

41–50 of 71 posts

Re: How to write English prose (2023)

#41

So much hate for this piece in the thread, I'm seeing almost no positive comments. I'm tempted to be unkind, but will exercise restraint; we are here, for the most part, technical writers, for whom parsimony is a professional virtue. I loved it. We're in an age where matrix multiplication can yawn out endless passages of trite, dull, sludge. The author, to my mind, makes a powerful and inspiring case for a future for…

This person - gets it

Re: How to write English prose (2023)

#42
We are fortunate that this individual's stylistic perspective is out there adding spice and variety to the world. I think, however, that most of us would be ill-advised to emulate it.

Orwell's maxim, "never use a long word when a short one will do", is something the best writers have always freely ignored. But it's a reliable guardrail for the writer of merely average skill, steering them toward something passable rather than vomit-inducing.

Re: How to write English prose (2023)

#44
As a production editor at a uni press, who has to occasionally translate jargon into English, I find Orwell's essay to still be entirely relevant. The kinds of writing Orwell warned about still flourishes in the pablum emails we get from HR, the management reports with roundabout justifications for more layoffs, the political speeches that use a lot of words to say nothing. I just had a manuscript where the author was very fond of using trite filler phrases that added very little. It kind of made me miss the days of red pencils, a somewhat more satisfying way of cutting.

Strunk & White, I have to agree, is mostly not very useful.

Re: How to write English prose (2023)

#45
Of late I have been reading the writings of some of the United States' founders. I am struck by how sophisticated they are compared to modern writing. Consider this portion of a letter that Thomas Jefferson wrote to Isaac McPherson on the subject of what today we would call "intellectual property":

> It has been pretended by some, (and in England especially,) that inventors have a natural and exclusive right to their inventions, and not merely for their own lives, but inheritable to their heirs. But while it is a moot question whether the origin of any kind of property is derived from nature at all, it would be singular to admit a natural and even an hereditary right to inventors. It is agreed by those who have seriously considered the subject, that no individual has, of natural right, a separate property in an acre of land, for instance. By an universal law, indeed, whatever, whether fixed or movable, belongs to all men equally and in common, is the property for the moment of him who occupies it, but when he relinquishes the occupation, the property goes with it. Stable ownership is the gift of social law, and is given late in the progress of society. It would be curious then, if an idea, the fugitive fermentation of an individual brain, could, of natural right, be claimed in exclusive and stable property. If nature has made any one thing less susceptible than all others of exclusive property, it is the action of the thinking power called an idea, which an individual may exclusively possess as long as he keeps it to himself; but the moment it is divulged, it forces itself into the possession of every one, and the receiver cannot dispossess himself of it. Its peculiar character, too, is that no one possesses the less, because every other possesses the whole of it. He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me. That ideas should freely spread from one to another over the globe, for the moral and mutual instruction of man, and improvement of his condition, seems to have been peculiarly and benevolently designed by nature, when she made them, like fire, expansible over all space, without lessening their density in any point, and like the air in which we breathe, move, and have our physical being, incapable of confinement or exclusive appropriation. Inventions then cannot, in nature, be a subject of property. Society may give an exclusive right to the profits arising from them, as an encouragement to men to pursue ideas which may produce utility, but this may or may not be done, according to the will and convenience of the society, without claim or complaint from anybody. Accordingly, it is a fact, as far as I am informed, that England was, until we copied her, the only country on earth which ever, by a general law, gave a legal right to the exclusive use of an idea. In some other countries it is sometimes done, in a great case, and by a special and personal act, but, generally speaking, other nations have thought that these monopolies produce more embarrassment than advantage to society; and it may be observed that the nations which refuse monopolies of invention, are as fruitful as England in new and useful devices. [1]

This passage is typical for the letters of educated people of that era.

Plowing through the endless waves of vacuous emails that reach my inbox daily, I cannot help but wonder whether we have lost something valuable in the arts of thinking and of expressing our thoughts.

[1] https://press-pubs.uchicago.edu/founders/documents/a1_8_8s12...

Re: How to write English prose (2023)

#46
post #5

Kept out of sight in this rogue essay is the classic question: Who's your audience? If you're writing for yourself (and maybe a very small number of equally erudite readers) cut loose! Embrace "anfractuous density and heedless flamboyance." But if you're trying to change people's minds, or share knowledge widely, everything in this essay is defiantly at odds with what's necessary to get the rest of the world to pay a…

I agree that it has been left to the reader to infer, but then again this is not really a how-to guide!

And he gestures at the need for this at least once.

  To be able to balance expressiveness and reticence, or to know when to cast that balance away, requires tact and ingenuity and taste on the part of writers

Re: How to write English prose (2023)

#47
post #5

Kept out of sight in this rogue essay is the classic question: Who's your audience? If you're writing for yourself (and maybe a very small number of equally erudite readers) cut loose! Embrace "anfractuous density and heedless flamboyance." But if you're trying to change people's minds, or share knowledge widely, everything in this essay is defiantly at odds with what's necessary to get the rest of the world to pay a…

I fully disagree. It is immensely readable (even if you might want an inline dictionary, something afforded by every contemporary operating system and eBook reader).

I think that in 2026, if you really want someone to read something, there should be some evidence that you wrote it. That means being brave and using your powers, whether they are misspelled, ungrammatical, or ornate.

There is guidance to strike a balance here, but there’s also encouragement to aim for beauty. Is his audience everyone, no, but it might be everyone who really wants to know.

Strunk and White can shove it, anyway, but then I am English. Plain language has enormous value in officialdom, insurance, law and finance, and it should be the goal, hence Crystal Mark etc.

But great writing is often audacious, and sometimes that means being ornate.

Re: How to write English prose (2023)

#48
post #6
post #5

Kept out of sight in this rogue essay is the classic question: Who's your audience? If you're writing for yourself (and maybe a very small number of equally erudite readers) cut loose! Embrace "anfractuous density and heedless flamboyance." But if you're trying to change people's minds, or share knowledge widely, everything in this essay is defiantly at odds with what's necessary to get the rest of the world to pay a…

What's interesting to me is that the examples he gives are beautiful because of their sincerity. Even if there is artifice, or they're being formal or playful, their style reflects their reading, their shared culture and of course as you say their audience - which I think for them was a very small elite. Anyone who writes in a flamboyant style now - as the essay's author does - necessarily comes across as a kind of p…

> Anyone who writes in a flamboyant style now - as the essay's author does - necessarily comes across as a kind of pastiche. There is something camp or affected about it

Necessarily? Not at all. I am not sure where “camp” or “affected” come into it. I am a nerdy English bloke and I suppose Americans, Canadians and Australians etc., will assume I am camp (which troubles me not one bit) so I may be unable to accurately judge, but I didn’t get either from this. It reminded me more of Fry or Lewis than Self, put it that way.

Re: How to write English prose (2023)

#49
post #18

For me there is only one rule of writing: Reader must enjoy reading what you wrote. They are ultimately the final judge - the very reason to write anything at all. Anything else is just huffing your own farts for the kick of it. No matter how flowery the words are in your book or how intricate nuances of language. Such things can be outright counterproductive.

Some people enjoy reading flowery words and intricately nuanced language; those who enjoy writing in that style should continue to do so, and reap the rewards of a similarly inclined audience.

Re: How to write English prose (2023)

#50

As someone with english as my second language this style is just too much to bother. Sure, I get that it is elegant and precise. But for me it results in stilted reading. Hence I disagree with the "Never write for your audience" part of the essay.

As someone who generally liked the article, this is perhaps the strongest argument against it. Prose like this requires even native speakers to really focus. I wouldn't write this way for anything intended to be read by an unknown person.
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