A while back, I said I would read Fennimore Woolson's novel For the Major.
All I can say is, I tried.
It is virtually unreadable today - and its sales when published suggest it was then, too.
Recognising bad writing is problematic, and it can be seen as very subjective. The reality is that it is only subjective for those who have little concept of what good writing is.
Writing words is like writing music: there are rules to follow. Just as a song with 33 bars is going to have a hard time making it into the charts, so are stories that violate the principles of fiction.
Yet, as is clear, this is not a matter of ticking the boxes. There are more subtle aspects to be addressed: rhythm, syntax, and diction that is suited to the situation, time and character.
Edgar Allan Poe's "formula short story" is remarkably durable. However, Poe did not invent it any more than Aristotle formulated the "rules" for tragedies: they observed and recognised common characteristics in works that were considered to be the best of their kind.
Poe listed four things for a short story: plot, character, action and dialogue. He was also big on atmosphere. While Poe's short stories exemplify these elements, they embody much more.
One of the best tests for good writing is to read a page out loud. Since we tend to think in terms of speech (how we would say something to a friend) it is the acid test. The value of what is said may be irrelevant. Think of the great comic writers like P G Wodehouse, who is making no point other than his characters are silly and they do silly things. [Knowing what one is doing should never be underrated, either.]
May began with a meeting with fellow novelist, Ian Thomson, at a pub near Trafalgar Square, followed by several hours of talk and lunch at Champagne Charlie's.
One day, the Welsh novelist, Gary Ley, must join us, as we all enjoyed time teaching at the same Public School for a while. Gary is embarked on a project that is set to make Balzac's output look meagre.
All I can say is, I tried.
It is virtually unreadable today - and its sales when published suggest it was then, too.
Recognising bad writing is problematic, and it can be seen as very subjective. The reality is that it is only subjective for those who have little concept of what good writing is.
Writing words is like writing music: there are rules to follow. Just as a song with 33 bars is going to have a hard time making it into the charts, so are stories that violate the principles of fiction.
Yet, as is clear, this is not a matter of ticking the boxes. There are more subtle aspects to be addressed: rhythm, syntax, and diction that is suited to the situation, time and character.
Edgar Allan Poe's "formula short story" is remarkably durable. However, Poe did not invent it any more than Aristotle formulated the "rules" for tragedies: they observed and recognised common characteristics in works that were considered to be the best of their kind.
Poe listed four things for a short story: plot, character, action and dialogue. He was also big on atmosphere. While Poe's short stories exemplify these elements, they embody much more.
One of the best tests for good writing is to read a page out loud. Since we tend to think in terms of speech (how we would say something to a friend) it is the acid test. The value of what is said may be irrelevant. Think of the great comic writers like P G Wodehouse, who is making no point other than his characters are silly and they do silly things. [Knowing what one is doing should never be underrated, either.]
May began with a meeting with fellow novelist, Ian Thomson, at a pub near Trafalgar Square, followed by several hours of talk and lunch at Champagne Charlie's.
One day, the Welsh novelist, Gary Ley, must join us, as we all enjoyed time teaching at the same Public School for a while. Gary is embarked on a project that is set to make Balzac's output look meagre.
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