Words to Write By
Posted on Wednesday, April 28, 2021 at 4:50 PM
Thirteen "C" words every writer should know: the final installment.
By
Peter P. Jacobi
Four words beginning with the letter C were
our shared topic last month: considerate, concise, correct,
and complete.
I said a writer should be all these.
And
I promised nine more such words this month. Here's delivery on that
promise:
Five
Be clear, of course.
"Clarity
is next to godliness" becomes the commandment.
"When you say
something, make sure you have said it. The chances of your having said
it are only fair," E. B. White once observed.
And that can
happen because of words -- slithery, slippery, misused, abused, or
too-rarely-used words.
Euphemisms for instance. "Negative patient
care outcome" versus death. "Lost workers" versus those who were fired
or laid off. "Education transport modules" versus school buses. Seals
"harvested" versus slaughtered.
Jargon, for another
instance, code words not understood by at least some of the readers.
Clichés,
which bore and turn the reader off.
Status symbol words like
quantify and optimize and parameter and infrastructure and paradigm and
quid pro quo and symbiosis and dialectic and longitudinal study and
colloquy and replication and all the rest of them. Test a dozen
walkers-by out on the street with those words and see what happens.
These are words people sort of know but don't know. These are words
they're not going to look up in the dictionary. These are words that
could be lost in the flow or cause a reader to lose the flow of the
passage.
And there's also that disease called "thesaurusitis,"
the hunt to find still another word to "say."
Being
clearer also depends on proper pronunciation and proper grammar. Permit
no run-on sentences. Permit no blends of singulars and plurals.
"Everyone has their own special image of paradise," begins a story I
recently came across. Such an opening sentence does not give me
confidence in what's to follow. "Everyone" is singular. "Has" is
singular. "They're" is plural, at least traditionally. Not good. Not
acceptable.
Being clear also means using manageable sentences.
Permit me to throw a dart at a distant-past "Dart and Laurels" column
that ran in the Columbia Journalism Review. A "dart" item dealt
with then TV commentator David Brinkley. He had taxed his credibility,
according to the item. Explanation, and I quote in the words of that
era: "At a time of growing unease over the apparent conflicts of
interest that arise when working journalists take on lucrative
assignments for corporations, trade groups and the like -- an unease
made manifest in the various attempts, by Congress and by other
journalists, to require disclosure of such outside sources of income, as
well as in the restrictions upon such extracurricular paid assignments
laid down by, among other networks, Brinkley's own ABC -- the highly
respected, highly paid moderator of This Week with David Brinkley,
produced an article in the fall on the 'twisted' logic of a federal tax
code aimed at 'soaking the rich.'"
Well, a dart to that
classic sentence, all 103 words of it.
Being clearer also means
finding a flow, creating an informational and verbal chain that easily
leads the reader from sentence to sentence and paragraph to paragraph
and idea to idea.
Being clear also means locating the proper
structures for the information being written up. The writer needs to
find an appropriate shape for the material, a logical progression or
development, an understandable sequentiality, a plan. And for this, no
doubt, an editor often becomes a saving partner. Writers find themselves
overwhelmed by gathered material, by details and themes and options. All
the informational trees hide in the forest. The editor's task is to find
the forest, to help the writer determine and work out a presentational
plan for the article. But that's a subject all by itself, and I'll deal
with it at a future time.
Six
Another "C" word is cohesive.
Be
cohesive. Make sure that, indeed, there is flow, that there is
transition, that material fits together, comes together, and stays
together. The article should become a whole. It should become a unit.
Call it a package; the information inside has been all wrapped up.
Seven
Be
consistent. The writer who begins an article with an anecdote and
then switches to informational sludge the rest of the way is not being
consistent. The writer who develops a descriptive feature on an art
exhibit and then, two thirds of the way in, turns to analysis or
evaluation is not being consistent. What a writer seems to promise early
on should get a follow-through later on.
The reader looking at
the narrative lead does not expect everything that follows to be of the
same nature, but he does look for a somewhat less formal piece than the
writer of sludge then provides. The article that changes from
description to evaluation suggests either that the writer hasn't
determined purpose or is trying to sneak in some opinions via the back
door.
Consistency shouldn't be considered restrictive. A writer
has plenty of maneuver space. But the editor should make sure that a
promise made is a promise kept.
Eight
Be concrete.
The
enemy of good writing is generality, lack of specificity, the absence of
detail. We've had occasion to discuss the power of detail in this series
of columns. But can the point be overstressed? I think not.
Some
fancy writers may want to be just that, fancy. They shun the reporting
aspect of their assignment, trusting that their way with words will be
sufficient. Disabuse them of that notion. Remind them that your readers
need to be better served, that manner without matter is a no-no.
We
speak not, of course, about the term paper approach to detail or even
the encyclopedic. Our readers must not feel overwhelmed. But sufficient
facts should always be present. Readers want to learn; they want to gain
information, even intelligence, while being massaged with style and
grace of language.
Nine
Be constructive. No,
one shouldn't serve up pablum. Honesty toward subject is an imperative.
But with so much gloom and doom coming at your audience from other
sources -- the daily newspaper, television and radio newscasts, the
newsmagazine -- there must be respite.
It was T. S. Eliot who
observed that people can take only so much reality. Beyond that, market
strategists have studied and ruled, people begin to stop reading or turn
off their sets, saying to themselves if no one else is around to hear:
"I can't take any more of this."
Deal with pessimism,
with negative subjects as you must. But remember that in most stories,
there are elements of progress or promise. A big-city school system may
be in shambles, and if it is, the writer should say so. But that same
school system contains pockets of good work. To such positive aspects,
attention also should be given.
Seek balance in coverage. Point
to the element of beauty. Hold out hope, not false hope, but hope. By
doing so you are likely to hold on to your readers a little longer; they
won't give way to despair.
Ten
Be credible.
That means, first, the writer should know his audience, a matter in
which the editor can be most helpful. If what the audience is interested
in or is likely to understand doesn't reveal itself in an article, then
that audience is lost. Idea, material, writing style will need to be on
the reader's wavelength. If not, credibility is lost.
And so it
is also if the writer depends too heavily on the weight of his own
byline. Credibility comes to a story if the writer seeks out credible
material from credible (and attributed) sources. Stronger belief is
engendered through the use of trustworthy information from trusted
experts or authorities. As editor, ask for that.
Eleven
Be
conversational.
The best writing, much of it, tends toward
the chatty, giving the reader a sense that the author is in an easy
chair nearby talking one-to-one.
You, as editor, must determine
how far in that direction your writers can or should go, depending on
subject matter and publication profile and reader types. But all of
journalism, including magazine journalism, has gone in the direction of
the conversational, the informal, the more down-to-earth use of language.
Well,
whether or not you desire such writing, make your writers read their
copy out loud. Make your editors read the copy they are editing out
loud. At the very least, you and they will find that convolutions and
missing steps and things that don't sound right will be eliminated. The
eyes are forgiving, as I've emphasized before. The ears are less so.
"Relatives served at family dinner," goes the headline. "Iraqi head
seeks arms," goes another. Reading aloud will straighten out such
confusions.
So come and encourage noise in your office when
deadlines come. Out-loud reading should be the order of the day.
And
if you seek conversationality, that, also, will be a product of reading
aloud, of sounding out the words.
Twelve
The
twelfth "C" word is comfortable,.
It's not the
writer, however, who should be comfortable. It's the writer and her
writing that should make readers comfortable. That's why
conversationality is a factor to consider. People out there seem to feel
more comfortable with conversational writing.
With so much
discomfort in people's lives, you provide a service through comfort.
Poet Jean Cocteau once wrote: "Music is not always a gondola, a
racehorse, or a tightrope. It is sometimes a chair." Think reader
comfort.
Thirteen
The captivating.
That's
the thirteenth and final "c" word on my list. And in a way -- actually
in different ways -- I've been discussing the importance of that word in
column after column ever since I started this column years ago. Never
lose sight of captivation.
The reader becomes harder and harder
to capture and to keep. Through the fascinating facts we gather and the
delicious style in which those facts are shaped into articles, we find
the means to hold on to our most prized possession, the reader.
We
regale with stories. We thrill with descriptive nuggets. We amaze with
startling propositions. We engage with an eye-opening analogy or
remarkable examples. We play with the language. We experiment with the
techniques of structure and design. We excite with approach. We surprise
with perspective.
All these to satisfy the readers and keep them
loyal. Our audience is not captive; it needs to be captivated.
Thirteen
words. Thirteen duties. Thirteen opportunities.
A classic
article from a past issue in tribute to the late Peter J. Jacobi,
longtime EO writer and author of The Magazine Article: How to
Think It, Plan It, Write It.
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