‘Use words I know.’

kurtvonnegutMany, many years ago, I managed to convince the powers that be at my secondary school that, rather than studying French or Latin in my fifth form year, I should be allowed to study art.  As I recall, this encompassed drawing, painting, art history, and art criticism.

Tuesday and Thursday mornings I studied English – where we were encouraged to write lucidly, succinctly, and with a sense of style.  Wednesday and Thursday afternoons I studied art – where the prevailing language was both gushily convoluted and mystifyingly opaque.

I quickly came to grips with the essence of clear and concise English.  But I could never see the point of much of the language of art comment and criticism.

Many years down the road, I still find my English lessons useful.  I still try to say what I have to say with clarity, simplicity, and an element of style.  And yet – and perhaps I am reading in all the wrong places – the language of art seems to have become even more obscure, even more opaque.

Recently, I went to an exhibition of what might loosely be described as pottery.  The pieces on display were more than competent.  They showed a good deal creativity, and a real dollop of craftsmanship.  Several made me smile.  One even made me laugh.  (Are you allowed to laugh in an art gallery?  Now that I come to think about it, the woman behind the desk did look at me in a rather strange way.)

The day after my gallery visit, I was half listening to one of my favourite radio stations, a mainly-talk station that focusses on news, current affairs, science, and culture.  And, in the ‘arts spot’, a woman was reviewing the exhibition that I had just been to see.  Or at least I think she was.

The gallery’s name was the same.  The artist’s name was the same.  But the reviewer’s commentary sounded as if she was reading randomly-chosen passages from James Joyce’s Finnegans Wake mashed up with randomly-chosen entries from the Oxford Dictionary of Foreign Words and Phrases.  And she was doing it in a tone of voice that suggested that she was wondering why she was wasting her time casting her beautiful polysyllabic pearls before such unworthy swine.

Every trade, every profession, has its jargon.  But if you are trying to communicate with a general reader (or listener), it’s usually best to put aside as much of the jargon as possible.

As the late Kurt Vonnegut advised students of his ‘Form of Fiction’ course at the Iowa Writers’ Workshop: ‘Do not bubble.  Do not spin your wheels.  Use words I know.’

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Yawn

TVI don’t think that my grandfather, who died in 1948, ever saw TV.

There was a time when I thought that this was something of a deprivation.  I think that he would have enjoyed watching sport, particularly equestrian sport.  And, being a farmer, he probably would have found some of the farming and countryside programmes pretty informative.

As a territorial cavalryman, my grandfather was one of the first to see action during the First World War.  And he was one of the last to come home again.  So he may have found some of the many programmes based on that great conflict pretty enlightening.

I happened to be thinking about my grandfather when I was watching cricket on TV recently.  During a break between overs, a station promo exhorted us not to miss ‘all new World’s Scariest Weather’.  I’m pretty sure that my grandfather could have passed on that one.

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Sorry, people, but here is the news

Man bites dogMy first serious girlfriend trained as a school teacher but earned her living as a journalist.  Her successor was a journalist who worked in PR before going on to edit a weekly magazine.  And her successor was a journalist who drifted into advertising.

From these three bright (and feisty) women, I learned several important lessons.

First, I learned that ‘man bites dog’ is news.  But ‘dog bites man’ is not.

Second, I learned that ‘if it bleeds, it leads’.  Gore, conflict, and disasters pull in the readers.  The gorier, the more conflicted, the more disastrous the better.

Third, I learned that every positive story has a dark underside – even if it’s only in the mind of some looney conspiracy theorist.  And, if you want to hook the readers, you ignore the dark underside at your peril.  ‘Readers just do not want to read good news,’ the second of my lady friends used to say.

Each of these lessons was learned more than 30 years ago – long, long before the advent of 24/7 news.  Since then, everything has been multiplied by ten.  Or maybe by 100.

And yet, every morning and every evening, I have to remind myself that the newspaper editors and the radio and TV newsroom editors are just putting out what people want to read, listen to, or watch.  Because if people don’t read, listen to, or watch their news, they won’t have any advertising; which means they won’t have any revenue; which means they won’t have anything.

Personally, I would be happy to pay to read, listen to, or watch advertising-free news.  But it would need to be very well researched, very well written, and very well presented.  And that would be quite a step up from most of today’s so-called news.

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The everyday importance of literacy

ABCIt was early November – just before or just after Guy Fawkes Night.  I can’t remember which.  I was five years old; soon to be six.

Our teacher began the day by reading us a story, and then called for someone to give a ‘morning talk’.  Anthony’s hand shot up.  ‘Me, Miss, me.’ Miss favoured Anthony with selection and, in a flash, he was up in front of the class and ready to start his oration.

‘Me had a Jumping Jack, me let it off, and it jumped on me yud,’ Anthony declared with all the confidence of a seasoned game show host.

The class laughed and applauded, and Anthony, beaming proudly, returned to his seat.

The teacher commended Anthony on his spirited delivery and then, very gently, suggested that it might have been even better had he said: I had a Jumping Jack, I let it off, and it jumped on my head.  And that, as I recall, was the end of our English lesson for the day.

A year later, now six going on seven, I moved to a new school.  And almost the first thing that I was asked to do was to read aloud from a book.  One small problem.  At my previous school, we had talked and we had listened.  We had mastered the basics of addition and subtraction, and division and multiplication – and a few other things besides.  But no one had taught us six-year-olds to read.  Or to write.  I was, by all normal criteria, illiterate.

Luckily, I seem to have been a fast learner and, a year later, I topped the class in English.  As far as I can recall, I remained in the top two or three in every English class until the day that I finally left the education system and began to earn my living primarily as a writer.

To anyone who is not illiterate – and if you are reading this, that probably includes you – the difficulties that come with even partial illiteracy are sometimes hard to comprehend.  Despite recent developments, being a fluent reader and writer still underpins most education, whether in primary school, secondary school, university, and even in life beyond the hallowed halls.  And, in many ways, the Internet has only made this more so.

According to a friend of a friend (who seems to know about such things), most people in prison are, to some extent, illiterate.  He believes that their illiteracy is at least part of the reason that they end up on the wrong side of the law.  Not being able to read and write makes it so much harder to earn a decent income.  And unemployment or underemployment can make a life of crime seem like an attractive option.  For a while, anyway.

Thirty years ago, give or take, I had lunch with a very successful young filmmaker who was breathing a sigh of relief because, thanks to calculators, spellcheck, and grammar check, his then seven-year-old daughter wouldn’t have to worry about learning maths or English.  She could focus on ‘more interesting subjects’.  Sometimes, in the middle of a wakeful night, I wonder how things turned out for her.

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The struggle for your reader’s mind

arm wrestleGetting someone to change their mind is never easy.

When I was growing up, we had a neighbour, a retired accountant, who held strong and often controversial views on pretty much any topic you cared to name.  Give him an audience – and a cup of tea or a glass of beer – and he would tell you why many of the then well-known truths were simply not true.  His data and his logic seemed sound.  And yet few people ever believed him.

Fifty or so years later, it turns out that, on several topics, he was definitely more right than wrong.  Unfortunately, many of the people who refused to believe him all those years ago are no longer around to acknowledge his perspicacity.

Max Planck, one of the founding fathers of quantum theory, once said that a new truth does not triumph by convincing its opponents.  It triumphs because its opponents eventually die and a new generation grows up with the new truth.

To a greater or lesser extent, we all have our confirmation biases.  We are all more inclined to believe new information that confirms and supports our already-held mental models.  Whereas we are likely to discount or ignore information that challenges our already-held beliefs.

If you need proof of this, spend a few minutes scrolling through the comments appended to just about any online op-ed piece.  You will quickly see that the yea-sayers were already in the author’s camp before they sat down at their keyboards.  The naysayers, on the other hand, were almost certainly from the other side.  The person who says: ‘I think I’m going to have to change my mind’ is very rare indeed.

This is a challenge for anyone presenting the ‘surprising’ results of a piece of research or trying to pitch a ‘different’ solution.  Whether the new idea is of a scientific, commercial, or political nature, it is going to have to battle against readers looking for confirmation of their already-held beliefs.

Sadly, authors are often their own worst enemies.  First, many have a tendency to ‘shout’ at their non-believing readers.  And no one likes being shouted at.  Second, in an effort to present their view in the best possible light, many have a tendency to totally disregard any data that doesn’t support their argument.  They tell of ‘an astonishing increase of 89 percent’, but neglect to mention that this ‘astonishing increase’ was based on a three-year data set selected from an otherwise unremarkable 128-year series.

And, if neither of these ploys works, they often resort to demonising any reader who fails to share their opinion.  Labelling people who don’t buy into the anthropogenic climate change argument as ‘deniers’ is a good example.  Unfortunately, shouting ‘You, sir, are an idiot!’ is seldom a good way to get someone to change their mind.

So what can you do?

The best advice that I ever received on this subject was from a man who had been both a successful editor and a successful publisher.

‘If you think your reader is likely to hold a different view to the one which you are about to express, keep this in the forefront of your mind.  Then express your own view clearly and succinctly, using the simplest language that you can.  Explain what you need to explain and refute what you need to refute.  And always respect your reader.’

It doesn’t guarantee success.  But it does seem to produce better results than most of the alternatives.

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Take a break

netballFrom my office window I can look down on the parking lot attached to a nearby indoor netball facility.

We are not talking here about the kind of venue that hosts international contests, or even matches between national league teams.  We are talking about one of the several venues that provide a space for the more socially-oriented teams to don their sneakers and try their skills against a team from the office or factory or superstore down the road.

The players in these teams come in a variety of shapes and sizes.  Some would not look out of place in a ‘serious’ team.  But others appear to be, well, bordering on overweight or over-age.  And, in some cases, both.  Nevertheless, I see them gathering in the parking lot and then traipsing in to the building, apparently ready to give it their best for their team, and I, watching from on high, think ‘Good on you, mate.  And good luck.’

On a fine evening, when all of the doors and windows are open, I am then serenaded by a muffled chorus and shouts and cheers, interspersed with rather frequent blasts on an umpire’s whistle.

Then, the match having run its course, one team having presumably triumphed, and the other perhaps having vowed to do better next time, the players traipse back out into the parking lot where they stand in clumps, perhaps analysing what went right and what went wrong, but also, possibly, trying to agree on which pub to stop off at on their way home.

Well, fair enough.  Netball can be thirsty work.

But what never ceases to surprise me is the three or four – sometimes six or seven – players whose first act on reaching the parking lot is to find a space against a supporting wall and light up a cigarette.

Like many 11 or 12-year-olds of my generation, I tried a cigarette behind the bike sheds.  Fortunately, it was not something which I enjoyed or felt the need to continue with.

I am not one who crusades against smoking.  I believe that, within reason, people should make their own choices, their own decisions.  But it does seem slightly odd that someone who gives it their all on the netball court would then immediately rush outside for a cigarette or two.

What does this have to do with writing clearly and succinctly?  Not a lot.  But sometimes, when my brain is feeling a little overloaded and the words are not flowing quite as smoothly as I would like them to, I just stop and look out of the window for a few minutes.  It works for me.  Who knows, it might work for you too.

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Promise writ large

FreeWhen I was a young writer, I occasionally worked with another writer who had a sign on his office wall saying: Advertising is but promise writ large.  As I recall, the observation was attributed to Samuel Johnson.

I was reminded of Dave’s sign when, several years later, I was given the task of writing up the results of some research into the likely success (or otherwise) of a proposed new investment product.

The research – in-depth interviews with more than 120 potential customers – suggested that the product was almost certain to fail.  Only seven people said that they might give the product serious consideration.  And more than 50 suggested that it was a con (or words to that effect).

The man who had commissioned the research was not happy.  It was not the result that he had expected or wanted.

A meeting was called between the research agency and the commissioning client.  And, as the person who had largely written up the final report, I was also asked to attend.

The meeting began with the client stating, in no uncertain terms, that the researchers had clearly got it wrong.  His own gut feeling, and more than 20 years’ experience of selling investment products, told him that the proposed product would be a winner.

The head of the research agency said that he could understand the client’s disappointment, but the findings were pretty conclusive.  The methodology was proven.  The sample was robust.  And the findings simply did not support the client’s gut feeling.

‘So what did you actually tell these people?’ the client asked.

The research director explained that, after an initial exploration of the interviewees’ past and present investment experiences, they were given an outline of the proposed product and how it would work, and ….

‘Let me stop you right there,’ the client said.  ‘That’s where you went wrong.  If these guys know what the product really is and how it really works, then of course they are not going to buy it.  The secret is to sell them the dream, to sell them the promise.  The other bits can be buried in the small print.’

The client went ahead and launched the new product.  And it failed.  Spectacularly.  Although not before a few gullible souls had lost their life savings.

I guess the moral of the story is: by all means, write your promise large.  But not too large.

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The plural of cliché is not communication

BananaSkinI’ve said it before and I’ll say it again: good writing can be hard work.

Good writing requires effort and it requires commitment.  Good writers think about each and every word that they write.  They think about whether or not each word will say what they want it to say.  And, even after they are satisfied that it will, they still wonder if there is perhaps a better word; not a more important word, not a grander word, but a word that will communicate better with their reader.

By contrast, lazy writers – and many writers in a hurry – often try to get away with stringing together a succession of hackneyed clichés.  The result is usually word count without meaning.

Rich-listers attempt to ride roughshod over the wishes of concerned residents.  Politicians are forced to make humiliating U-turns.  And marauding gangs of disaffected youths go on booze-fuelled crime sprees.

In a harbinger of things to come, communities slam government plans and express their frustration with an outpouring of support (or maybe grief).  And then, in a last-ditch attempt to pull off a stunning upset and avert the potentially-fatal wholesale destruction of the pristine environment, a source close to the group’s leadership calls for a citizen referendum.

And don’t get me started on the much-loved mother of 12 losing her battle with cancer.

If you have something to say – preferably something that is worth saying – think about it carefully.  And think, too, about your reader.  And then write what you have to say as clearly, as concisely, and as freshly as you can.

There must have been a time when wholesale destruction conjured up an image that meant something, but that time has long passed.

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Speaking to your reader’s ear

ear2As a child, I had a rather low opinion of poetry.

I realise now that, on the whole, the poetry that we were exposed to at school was largely of the dumpity dump variety.  Robert Browning’s How They Brought the Good News from Ghent to Aix is an example that sticks in my mind.

I sprang to the stirrup, and Joris, and he; / I gallop’d, Dirck gallop’d, we gallop’d all three;

Dumpity dumpity dumpity dump, / Dumpity dumpity dumpity dump.

It was OK.  But it certainly didn’t make me want to stand and cheer.

And then I discovered the young Roger McGough (and his fellow ‘Liverpool poets’).  And Robert Graves.  And John Betjeman.  And TS Eliot.  And William Carlos Williams.  And Philip Larkin.  And Kendrick Smithyman.  And everything changed.

Forget dumpity dump.  These guys were writing clever, funny, sad, engaging stories, and they were making wry observations.  But their writing was tight.  In some cases, it was very tight.  Their words were well chosen.  Their images were vivid.  And reading their poems reminded me of the rhythms of a great jazz solo.

sometimes / I feel like a priest / in a fish and chip queue, Roger McGough said.

And, Kendrick Smithyman began by saying of the Mangatawhiri Stream during the Maori Wars, that it was: Shabbier than a frontier ought to be,

And that: this stream (one understands) could be crossed / by a General getting on in years and not up to / his job, stumping ahead with his walking stick / to lance the nodes of ambush.

Messrs McGough and Williams and Smithyman didn’t make me suddenly want to become a poet.  But they did make me think about the prose that I wrote in an entirely different way.  I suddenly realised that, in addition to everything else, I had to write for my reader’s ear.  My prose not only had to read right, it also had to sound right.

Thank you, guys.  I owe you.

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A short story

pint of bestMany years ago now, on a sultry summer afternoon, with the drone of the city traffic struggling to be heard above the incessant chirping of the cicadas, a group of us, perhaps a dozen of us in all, gathered on a hastily-assembled collection of mismatched chairs to listen to an impromptu lecture from a visiting Fulbright Scholar who jokingly referred to himself as Herb the half-bright professor.

His subject was How to Write a Research Report.  Not just any research report; but a research report that readers would really want to read, much in the same way that they might really want to read the latest work by their favourite fiction author.

What Herb had to say was brief and to the point.  ‘Don’t just list facts and findings,’ he said.  ‘Like the fiction author, you need to tell a story.  That’s important.  People like stories.

‘And you need to keep your story simple.  Say what you need to say, but say no more.  And, wherever possible, use short words.  Also, use short sentences.’

‘Anything else?’ someone asked.

‘No.  That’s about it.’

And then several of us gathered up Herb and repaired to a nearby pub for a cold beer.

Cheers, Herb.

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