A Quote by John Ruskin
It is excellent discipline for an author to feel that he must say all he has to say in the fewest possible words, or his reader is sure to skip them; and in the plainest possible words, or his reader will certainly misunderstand them. Generally, also, a downright fact may be told in a plain way; and we want downright facts at present more than anything else.
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Say all you have to say in the fewest possible words, or your reader will be sure to skip them; and in the plainest possible words or he will certainly misunderstand them.
It is excellent discipline for an author to feel that he must say all that he has to say in the fewest possible words, or his readers is sure to skip them.
I'm a 'frotteur,' someone who likes to rub words in his hand, to turn them around and feel them, to wonder if that really is the best word possible. Does that word in this sentence have any electric potential? Does it do anything? Too much electricity will make your reader's hair frizzy. There's a question of pacing.
It is easier for the reader to judge, by a thousand times, than for the writer to invent. The writer must summon his Idea out of nowhere, and his characters out of nothing, and catch words as they fly, and nail them to the page. The reader has something to go by and somewhere to start from, given to him freely and with great generosity by the writer. And still the reader feels free to find fault.
We must take our sentences seriously, which means we must understand them philosophically, and the odd thing is that the few who do, who take them with utter sober seriousness, the utter sober seriousness of right-wing parsons and political saviors, the owners of Pomeranians, are the liars who want to be believed, the novelists and poets, who know that the creatures they imagine have no other being than the sounding syllables which the reader will speak into his own weary and distracted head. There are no magic words. To say the words is magical enough.
To me, one of the greatest triumphs in doing a book is to tell the story as simply as possible. My aim is to imply rather than to overstate. Whenever the reader participates with his own interpretation, I feel that the book is much more successful. I write with the premise that less is more. Writing is not difficult to me. I read into a tape recorder, constantly dropping a word here and there from my manuscript until I get a minimum amount of words to say exactly what I want to say. Each time I drop a word or two, it brings me a sense of victory!
Bend words. Stretch them, squash them, mash them up, fold them. Turn them over or swing them upside down. Make up new words. Leave a place for the strange and downright impossible ones. Use ancient words. Hold on to the gangly, silly, slippy, truthful, dangerous, out-of-fashion ones.
In the following pages I offer nothing more than simple facts, plain arguments, and common sense; and have no other preliminaries to settle with the reader, than that he will divest himself of prejudice and repossession, and suffer his reason and feelings to determine for themselves; and that he will put on, or rather that he will not put off, the true character of man, and generously enlarge his view beyond the present day.
I think a play can do almost anything, because it's also a static form, much more so than in a movie. In a movie you can move the scenery, you can do anything any way. A cartoon, happens in a limited amount of space and a limited amount of time, and you can only get so many words before the reader's gonna get impatient. All of these forms that I enjoy are in a sense a slight of hand, where you have to suggest much more than you really show. You have to, in a sense, seduce the reader and trick the reader or the audience into going with you.
Say what you have to say in the fewest possible words.
Poem in other words may or may not result from inspiration but must (in reader and author alike) produce it--
There's a contract that I make between myself, the author, and the reader. I have to figure out how to give the reader certain powers of recognition, or his own knowledge, his own feelings, but I provide them, so we're working together.
For those who want to understand the issues of the environmental crisis, Encounters with the Archdruid is a superb book. McPhee reveals more nuances of the value revolution that dominates the new age of ecology than most writers could pack into a volume twice as long. I marvel at his capacity to listen intently and extract the essence of a man and his philosophy in the fewest possible words.
The truly educated man is not a man who knows a bit of everything, not even the man who knows all the details of all subjects (if such a thing were possible): the “whole man” in fact, may have little detailed knowledge of facts and theories...but he will be truly in touch with the centre. He will not be in doubt about his basic convictions, about his view on the meaning and purpose of his life. He may not be able to explain these matters in words, but the conduct of his life will show a certain sureness of touch which stems from this inner clarity.
If a man withdraws his mind from the love of beauty, and applies it as sincerely to the love of the virtuous; if, in serving his parents, he can exert his utmost strength; if, in serving his prince, he can devote his life; if in his intercourse with his friends, his words are sincere - although men say that he has not learned, I will certainly say that he has.
The author always loads his dice, but he must never let the reader see that he has done so, and by the manipulation of his plot, he can engage the reader's attention so that he does not perceive the violence that has been done to him.
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