Posts Tagged how to polish your prose
I’ve been reading Bill Bryson’s Notes From A Small Island and he describes a moment in an Edinburgh art gallery when he saw a father talking to his son about the difference between early and later Goya. Bryson says:
The man was describing the pictures with a fondness and familiarity that were truly heartwarming and the boy was raptly attentive to his every word. He wasn’t showing off, you understand; he was sharing.’
Showing off. Sharing.
It seems to me that this distinction could apply, not just to art appreciation or father-son conversations, but to art itself.
It’s hard to pin down what makes a piece of art effective, but one explanation could be this – an essential quality of transparency, of real communication. Whether it’s painting, dance, acting or writing, you forget it’s being accomplished through words on a page, or strokes of paint, or somebody dressing up and pretending, or performing a much rehearsed sequence of moves. It seems to be there completely without artifice or barrier or skin.
Where does this sense of naturalness come from? One answer might be in this post I wrote a while ago, inspired by an interview with Michael Caine. He was being asked about his relaxed performance manner, and how he made it look so effortless. he said ‘the rehearsal is the work, the performance is the relaxation.’ Put another way, to be effortless requires … hours of non-spontaneous effort.
It also means we have to get our ego out of the way. But this is a finely judged thing. We want our writing to hold the reader’s attention, so we have to be a bit bold. We need flair and panache. Characters who are memorable. Plot events that make us turn the page. For each of those qualities, we tread a fine line. A phrase might be startling and true, or it might strike a fake note. A character might be distinctive and unforgettable, or they might be unconvincing, or jar with the tone. Figuring out which is which is one of the eternal quests of honest self-editing.
Sometimes, we can get an answer by taking a long look at our motives. Often, deep down, we know if we’re keeping an image, line, simile, plot event or description that doesn’t belong. The reason is usually this – we’re pleased with them.
If that’s your conundrum, this question could be the clincher.
Was it showing off or sharing?
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