 Perhaps the word inspiration has become trite. Whether I'm writing fiction or nonfiction, I've been asked more than once if I ever "feel" inspired to write. I know it's a standard author-type question, but I don't quite believe in the idea of a grand light-bulb moment or a guiding Muse. I do, however, often read something that gives me an idea or image. That definition of inspire I do agree with--to produce or arouse a feeling, thought, etc. Two years ago, I was trying to choose a John Donne poem to teach to my high school juniors. And, as often happens, I kept reading because I was enjoying reading Donne for the delight of simply reading poetry much like C.S. Lewis's idea of "receiving" versus "using" the poems we read. In An Experiment in Criticism, Lewis also mentions how we delight in the stir of our imaginations. When I encountered Donne's Holy Sonnet V [below], I had a glimmer of an idea. In the moment, I wasn't stirred by his purpose of calling us to repentance. No, I was captured by the image of new spheres and new lands as Donne cried out for the eternal hope of seeing them. I am a little world? The angelic juxtaposed with black sin? New spheres? New lands? It was then I sensed it. I call it a compelling. What new world could I picture? What could I write of? These were the moments that led me to begin writing fiction for the first time, the completed middle-grade fantasy novel I am querying today. I am a little world made cunningly *My favorite Donne collection remains the Everyman's Library Pocket Poets Series because...well, who doesn't like a pocket-size book of poetry?
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 TEACHING MY STUDENTS how to improve their own writing is no easy task. I emphasize content and typically focus on one to two stylistic elements per assignment. At the beginning of the school year, I quickly noticed that my seniors were overfond of the verb “use” in most any casual or formal writing assignment. We quickly built a synonym base for the word on the whiteboard and discussed connotations. For several months, I had them search and highlight the word, allowing for a single use. As I worked on my novel these past months, my editor had to repeatedly teach me how to balance my use of active and passive voice in both dialogue and narration. Repeatedly. It took a number of attempts for my brain to get it. And practice was very much a part of the process. My point is that it often takes mini-lessons like these as we each take steps in our writing or even speaking. And that is when writing style guides can be such a help. But forget writing classics like Strunk and White’s The Elements of Style. The concept of spelling out rules with writing examples was tackled well before the 20th century. Think of Aristotle’s Poetics in 4th century BC. Though he focuses on drama and epic, he does address the use of language and a playwright’s diction. But I would be remiss if I didn’t also consider a short but splendid stylebook of the first century, one that considers the written and the spoken word. More than our contemporary guides, Cassius Longinus explores the motive of the writer. Why is he writing? What is his end? But more importantly, can we attain sublimity of language? Are we capable of learning it? A lofty passage does not convince the reason of the reader, but takes him out of himself. That which is admirable ever confounds our judgment, and eclipses that which is merely reasonable or agreeable. To believe or not is usually in our own power; but the Sublime, acting with an imperious and irresistible force, sways every reader whether he will or no.” In On the Sublime I especially enjoy how Longinus speaks of the artistic turn of phrase, the creator's craft, as he cites concrete examples from Homer, the Bible, Sappho, Herodotus, Aristarchus, and so on. The sublime is a simple term that implies so much. The "loftiness and excellence of language" remain the ideal in writing as opposed to fluff or bombast. And yes, Longinus, fully discredits those as false writing. I think today we would call that emotional or reactionary writing. Bombast is simply writing that goes too far. The writer recognizes the need to be original in his use of description and goes overboard. Longinus eventually calls it pathetic. It seems everyone wants to be original. Too true. In Part XV, Longinus provides real examples from Homer, Sophocles, and others that we can imitate. Grand language and perfectly crafted imagery are praised most, but his third and fourth principles are the most practical. Combine figures of speech or rhetorical devices for the most effect. A “close and continuous series of metaphors” is distinctive. Use conjunctions intentionally. Arrange your words in a certain and best order. There is so much more to his advice and criticism, but I especially appreciate Longinus’ analysis of a writer’s style. After we have picked at all the parts, how do we determine what the best writing is? His final pages explore this very question-- Is it not worthwhile to raise the whole question whether in poetry and prose we should prefer sublimity accompanied by some faults, or a style which never rising above moderate excellence never stumbles and never requires correction? ... these are questions proper to an inquiry on the Sublime, and urgently ask for settlement." And Longinus finds it hard to do. At first, he says a reader can discern an innate harmony within an essay. The reader simply knows it is sublime writing. But then, Longinus provides several examples of what sublime language is not. In other words, good writing remains to this day something easy to recognize yet hard to define.
Read "On the Sublime" at Project Gutenberg.  Dictionary and thesaurus apps. Etymology and word roots. Language study and Interlinear Bibles. Writing tools in this century are at our fingertips. Yet as I work on my first novel, the most unusual resource has resurfaced—a 1929 Hartrampf’s Vocabulary Builder. I call it my fat word builder. I admit it’s been abandoned for a while on our bookshelves, possibly for ten years, but now—now it’s a rarefied gem in my eyes. Yes, it’s a single book. It has only been recently digitized, and there are many newer editions. Its genius resides in the collection of associated meanings, not just straight synonyms. Let me give you an example from my summer editing work. In my novel's first draft, I have definitely overused certain words like come, wind, were, and a most heinous repetitive phrase--began to. Apparently my heroine Carina likes to begin things. She began to sit or stand. She began to crouch. She began to laugh. Goodness. I promise she finishes things. Really. Now for the edits with Hartrampf's help. I look up the word "begin" in the back index. I'm delighted to find an entire page devoted to its use. The top of this page says to see other possible connections for "start" or "commencement." A handy list with additional pages is right there: birthplace, excite—rouse, change, opening—foreword, musical beginnings, time preceding, or cause. Which kind of "begin" do I want? I could flip to any of those or look below at the parts of speech:  And this is just one-eighth of the page. The word wonder continues with many family and neighbor words for "begin." For my character, though, I found that many times she was not truly beginning something. Instead of "With knife in hand, Carina began to crouch..." I realized she wasn't beginning anything. "With knife in hand, Carina crouched..." was more accurate and less wordy. Of course, I could have said, "She prepared herself." In reality "crouched" became the best fat word. Yes, fat. These words contain action and image and power.
As a writer, I can say in all sincerity that I have finally found a happy and pleasant use for the word fat.  AGES AGO I took a college course titled “History of the English Language.” In the textbook, Pyle and Algeo argue that language development makes us human. They begin with what we know—speech comes first then writing. Simply put, we can talk before we can write. There are spoken languages in fact with no written form. In spoken language, inflection and stress provide intended meaning. Writing itself distinguishes meaning through its process, but it is useless without words. Words are building blocks, units, ingredients, pieces of a sentence or thought puzzle. But before it entered an English dictionary, the word word was known by the Greeks as logos. In pre-Socratic philosophy it was the principle governing the cosmos because it encapsulated human reasoning. The Sophists later saw it as the topic of rational argument or the arguments themselves. The Stoics viewed logos as nous—the active, material, rational principle of the cosmos that was identified with God. It was both the source of all activity and generation and the power of reason residing in the human soul. In Judaism, logos becomes the living, active word of God. It is creative power, and it is God’s medium of communication with mankind. In Christianity, logos becomes the creative word of God which is itself God incarnate in Jesus in John 1.
Words. As I write this summer, I am ever conscious of how words are used, and not just mine. The writer of Ecclesiastes 3 might describe it this way—words are used to inspire fear, to bring wisdom, to bring joy, to show emotion, to display passions, to attack or defend, to bring comfort, to encourage, to belittle or tear down, to cause pain, to bring healing, to mend. Whether I write fiction or nonfiction, blogs or essays, speeches or stories, the inherent caution is there. My words, our words, have life as we give them. As writers, readers, and speakers, we share a responsibility to use them well.  IN THE PAST MONTH, I'VE TWEAKED A LOT. I’ve tweaked curriculum, articles, even the brightness of my book cover and its font size. I've tweaked my website, but I’ve also tweaked my closet apparently. Maybe I even tweaked my foot when I stepped on a backyard mole hill. When it was first recorded in Old English in the 1600s, tweaking used to mean pinching, as in tweaking or tugging someone’s nose. Then it meant plucking, like picking lint off of a shirt. I don’t think I’ve managed to pinch or pluck anything I’ve written, but I may have plucked a few things from my closet that I don’t wear. Now that I consider it, I do pluck things from what I write. I have to so I can add other words. Tweaking means to make a fine adjustment. Tweaking really is refining, and refining is all about process, not perfection. It requires time and reflection and a good deal of plain old thought. I don’t want to be the fool described in Ecclesiastes 10:14 who just multiplies his words. That just implies empty quantity. A good word encourages the heart and strengthens it (Proverbs 12:25). Those words are agreeable and bring pleasure and make you stand taller. Perhaps one of the most valuable parts of the tweaking process is that God can reveal His wisdom to us if we wait and rest without trying to fill a page just to fill it. In Proverbs 8, Wisdom herself says, I have counsel and sound wisdom; I have insight; I have strength. And that is my hope and prayer for the words that I write. Let tweaking be a refining. All the words of my mouth are righteous;  TEACHING MY STUDENTS how to improve their own writing is no easy task. I emphasize content and typically focus on one to two stylistic elements per assignment. At the beginning of the school year, I quickly noticed that my seniors were overfond of the verb “use” in most any casual or formal writing assignment. We quickly built a synonym base for the word on the whiteboard and discussed connotations. For several months, I had them search and highlight the word, allowing for a single use. As I worked on my novel these past months, my editor had to repeatedly teach me how to balance my use of active and passive voice in both dialogue and narration. Repeatedly. It took a number of attempts for my brain to get it. And practice was very much a part of the process. My point is that it often takes mini-lessons like these as we each take steps in our writing or even speaking. And that is when writing style guides can be such a help. But forget writing classics like Strunk and White’s The Elements of Style. The concept of spelling out rules with writing examples was tackled well before the 20th century. Think of Aristotle’s Poetics in 4th century BC. Though he focuses on drama and epic, he does address the use of language and a playwright’s diction. But I would be remiss if I didn’t also consider a short but splendid stylebook of the first century, one that considers the written and the spoken word. More than our contemporary guides, Cassius Longinus explores the motive of the writer. Why is he writing? What is his end? But more importantly, can we attain sublimity of language? Are we capable of learning it? A lofty passage does not convince the reason of the reader, but takes him out of himself. That which is admirable ever confounds our judgment, and eclipses that which is merely reasonable or agreeable. To believe or not is usually in our own power; but the Sublime, acting with an imperious and irresistible force, sways every reader whether he will or no.” In On the Sublime I especially enjoy how Longinus speaks of the artistic turn of phrase, the creator's craft, as he cites concrete examples from Homer, the Bible, Sappho, Herodotus, Aristarchus, and so on. The sublime is a simple term that implies so much. The "loftiness and excellence of language" remain the ideal in writing as opposed to fluff or bombast. And yes, Longinus, fully discredits those as false writing. I think today we would call that emotional or reactionary writing. Bombast is simply writing that goes too far. The writer recognizes the need to be original in his use of description and goes overboard. Longinus eventually calls it pathetic. It seems everyone wants to be original. Too true. In Part XV, Longinus provides real examples from Homer, Sophocles, and others that we can imitate. Grand language and perfectly crafted imagery are praised most, but his third and fourth principles are the most practical. Combine figures of speech or rhetorical devices for the most effect. A “close and continuous series of metaphors” is distinctive. Use conjunctions intentionally. Arrange your words in a certain and best order. There is so much more to his advice and criticism, but I especially appreciate Longinus’ analysis of a writer’s style. After we have picked at all the parts, how do we determine what the best writing is? His final pages explore this very question-- Is it not worthwhile to raise the whole question whether in poetry and prose we should prefer sublimity accompanied by some faults, or a style which never rising above moderate excellence never stumbles and never requires correction? ... these are questions proper to an inquiry on the Sublime, and urgently ask for settlement." And Longinus finds it hard to do. At first, he says a reader can discern an innate harmony within an essay. The reader simply knows it is sublime writing. But then, Longinus provides several examples of what sublime language is not. In other words, good writing remains to this day something easy to recognize yet hard to define.
Read On the Sublime at Project Gutenberg.  Dictionary and thesaurus apps. Etymology and word roots. Language study and interlinear Bibles. Writing tools in this century are at our fingertips. Yet as I work on my first novel, the most unusual resource has resurfaced—a 1929 Hartrampf’s Vocabulary Builder. I call it my fat word builder. I admit it’s been abandoned for a while on our bookshelves, possibly for ten years, but now—now it’s a rarefied gem in my eyes. Yes, it’s a single book. No, it is not digitized, but there are many newer editions. Its genius resides in the collection of associated meanings, not just straight synonyms. Let me give you an example from my summer editing work. In my novel's first draft, I have definitely overused certain words like come, wind, were, and a most heinous repetitive phrase--began to. Apparently my heroine Carina likes to begin things. She began to sit or stand. She began to crouch. She began to laugh. Goodness. I promise she finishes things. Really. Now for the edits with Hartrampf's help. I look up the word "begin" in the back index. I'm delighted to find an entire page devoted to its use. The top of this page says to see other possible connections for "start" or "commencement." A handy list with additional pages is right there: birthplace, excite—rouse, change, opening—foreword, musical beginnings, time preceding, or cause. Which kind of "begin" do I want? I could flip to any of those or look below at the parts of speech:  And this is just one-eighth of the page. The word wonder continues with many family and neighbor words for "begin." For my character, though, I found that many times she was not truly beginning something. Instead of "With knife in hand, Carina began to crouch . . ." I realized she wasn't beginning anything. "With knife in hand, Carina crouched . . ." was more accurate and less wordy. Of course, I could have said, "She prepared herself." In reality "crouched" became the best fat word. Yes, fat. These words contain action and image and power.
As a writer, I can say in all sincerity that I have finally found a happy and pleasant use for the word fat.  IN THE PAST MONTH, I'VE TWEAKED A LOT. I’ve tweaked curriculum, articles, even the brightness of my book cover and its font size. I've tweaked my website, but I’ve also tweaked my closet apparently. Maybe I even tweaked my foot when I stepped on a backyard mole hill.
When it was first recorded in Old English in the 1600s, tweaking used to mean pinching, as in tweaking or tugging someone’s nose. Then it meant plucking, like picking lint off of a shirt. I don’t think I’ve managed to pinch or pluck anything I’ve written, but I may have plucked a few things from my closet that I don’t wear. Now that I consider it, I do pluck things from what I write so that I can add other words because in modern lingo, tweaking means to make a fine adjustment. Tweaking really is refining, and refining is all about process, not perfection. It requires time and reflection and a good deal of plain old thought. I don’t want to be the fool described in Ecclesiastes 10:14 who just multiplies his words. That just implies empty quantity. A good word encourages the heart and strengthens it (Proverbs 12:25). Those words are agreeable and bring pleasure and make you stand taller. Perhaps one of the most valuable parts of the tweaking process is that God can reveal His wisdom to us if we wait and rest without trying to fill a page just to fill it. In Proverbs 8, Wisdom herself says, I have counsel and sound wisdom; I have insight; I have strength. And that is my hope and prayer for the words that I write. Let tweaking be a refining. All the words of my mouth are righteous; there is nothing twisted or crooked in them. They are all straight to him who understands, and right to those who find knowledge. Take my instruction instead of silver, and knowledge rather than choice gold, for wisdom is better than jewels, and all that you may desire cannot compare with her. —Proverbs 8:8-11 |
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