The more I write, the more I am taken with it, the magic of the word. Turn the wrist and your word is a clear brook. Flick, and you have a blade, or a balm. To be able to put out one, two, three words for a title and draw people in; convince them to pause in their hurried steps and step inside, there is a power in that. They pull up a seat, and some linger and chat. Some cry a little; other times they walk out still laughing because it was the room of your childhood they had entered and they remembered. The window to your marriage you’d opened and they know. It was your messy soul they inhabited briefly, experienced from the inside out and they blushed a little. It was their one-minute confessional before they drew the door back out to the light.
There is something religious about writing for me. It calls for devotion, affection, discipline, even bloody sacrifice. And it’s redemptive, every word sacred. If you pile on the descriptors, especially those adjectives and adverbs you are so fond of, you reveal a lack of faith in the rest of your words, either in the potency of language or your own ability to cherry-pick its offerings. Your line must not be vivid enough, else why do you need four modifiers in a breath? Could you find one or two that do the job? I am full of faith. Let’s try this together.
The mountains were draped by black curtains of ominous storm clouds, portentous of trouble over marshy waters.
Sorry this is not sexy. But I am so grateful for the mercy of the missing adverb I want to cry.
For starters, we have the imagery of darkness replaying itself in the draped, black, curtains. Then the picture of something brewing duplicated in ominous, storm, portentous, trouble. As if the two ideas weren’t redundant enough, they are so similar as to feed each other (black and storm, for instance, serving both the gloom and imminence).
Let me illustrate how I see the writing process with a metaphor that is a religion all its own for many. In basketball, the three-pointer is one of the most impressive shots of course, made farthest from the basket. The ball, which we can liken to the word, spurns distance, flying with grace, muscle, surety. This is writing, the art of nailing it. The three-pointer holds an interesting success rate of about 35% in the NBA. The best players in America make it only a third of the time.
So an autopsy of our overclouded sentence reveals the problem wasn’t so much a superfluity of adjectives or even of ideas. That was merely the symptom of either an impotence toward a clear purpose or even a deeper mistrust in the authority of the word. I say it was a spiritual death. I usually build from the bone of meaning, combining nouns and verbs that I hope are crisp, to relatable metaphors, rather than slather on the fat and spice from the start. If I can use a noun that’s picturesque or compelling enough, I hold back the adjective (just redemption, which I’d considered embellishing above). And when I want more, I go with the least possible number of modifiers unless I am inflecting other elements of communication. So in measuring my words like a child in wartime rationing her meal, it isn’t just economy I’m after but also meaning, style, tone, and depth. Conveying all these elements as efficiently as one can is simplicity. I am not saying you can’t describe the morning in three adjectives. Sharon Olds with her many trippy, hypothermic descriptives has had me in knots barely able to get through her pain-saturated poems. But let’s respect this thing we call language. That is the sacred.
Obviously I am talking to people who want to raise the bar on their writing. We have a huge pet aisle here on WordPress and if you mean only to keep up the anecdotes about your dog, you don’t have to hamstring yourself. But if you want to be writing better, be sharper on the page than you were four years ago, don’t give yourself cheap praise. Question your choices and their motives. Whether you’re writing a travel journal, history, fiction, or poetry, ask yourself if every word is necessary because each one is doing its own thing, contributing something fresh to your picture. Fancy dribbling isn’t what scores your game.
If you have a better way – and the shelves are lined with authors who do – by all means have at it. But first, ask any man. A hint of perfume and he leans in. Assault me with it in the elevator, and uh, excuse me. I think I’ll take the stairs. The sin of gluttony abounds in all the arts. There is such a thing as too much salt in your sauce, too much red on the canvas, too much bling with that outfit, too much fills on the drums. Black clouds sat over the mountain.
Oh, but what’s that? You don’t believe me. You think I’m a blogging Grinch who’s out to steal your Christmas or keep you from your ebook sell-out. You think I didn’t catch that adverb in your clutch. Fine. I’ll leave you to your opinion of fine writing. But if you think me a pious know-it-all, at least close the curtains and on your way out, please remember the shoes you should’ve removed. Yes, thank you. In all fairness, no one made you enter my sacred ground.
[Poetry] is for me Eucharistic. You take somebody else’s suffering, their passion into your body and…you’re transformed by it, you’re made more tender, or more human. You’re more alive to your fellow human beings. I could literally read a poem and lift my head from the page and look out and my heart would just be softer. I think it kept me alive for a long time.
~ Mary Karr, 2011 Writers’ Symposium by the Sea
Poets are strange –
Why can’t they just call the spade
a spade? And what’s a rock but
rock: sandstone, shale from the tiredness
of weather? Coal and limestone, plant
and animal dross
— but nature wastes nothing.
Why do poets look for metaphors under
every rock, the walls that hold the creek, earth
that crumbled, forged resolute, and grew above
my grandmother’s rib, beat hard when she was
widowed with six children on the road
fleeing the Communists
fleeing the Communists
fleeing the Communists
and soldiers who ran out to drag their own
men screaming without their arm
back to the trenches in
too many battles and
and bald children in hospital beds who still
know how to laugh.
Why can’t poets be simple? They see
a crushing burial in heat and time:
marble, quartz, gneiss
— living, burnished beauty.
Poets. They think they can say it
stargazers in furious
bloom – vanilla air –
are the only flowers
that trust me, tell me
i am not hopeless;
the juice in their veins, the way
they gulp the sun and meet my face,
their beauty and their business
say i don’t need a green thumb
and the riotous garden.
all one needs is a singular love.
Birdless sky swells grey blue against trees that stand like brushes stiff in the cold The penultimate breath of a new earth The dark disappears in a steadfast philanthropy of color: red, orange, rose blush up from the land over lakes and hills and roof slats to tell the inhabitants Night has not prevailed. Earth e x h a l e s as the Sun spills her promise.
we felt so grown up when we were kids and now wonder that we are so old when we're not yet grown we started losing our parents to time and frailty. in the cycle of life things go upside down sometimes you rush d o w n the rabbit hole into a world above the logic of sorrow and find you are so small, but remember: Mom's high ceiling, your sure ground. see the sky and trees in your pool of tears they're the other side of life. how beautiful things are when they drown how clear it is underwater. you long to run to the garden beyond that door but you don't fit life would feel deformed under the weight of loss if it weren't for the faith that was bigger than the life that shut down she archived her fears and hopes in her kids, did anyone hear the story in between, did anyone look? hold fast your heirloom assurance the midnight of your dreams is really a new day. for HJ & anyone else who would like it