I’ve been in love with the English language all my life. It’s the most versatile and powerful tool for communication ever to arise among men. Now that it’s the de facto international language, it provides that power to anyone who has the time, energy, and brain matter to learn it. (No, that’s not everyone, but it’s enough of Mankind to keep things moving.)
Now, just as there are specific properties that make a commodity suitable for use as a money, there are specific properties that make a language suitable for communication among large numbers of persons. I could go into gruesome detail about this. Perhaps I will, some day when I’m feeling cruel. But this morning a specific characteristic of languages is much in my thoughts: the capacity for precision.
If tongue A makes it possible to convey an idea more clearly than does tongue B, then over time A will prevail in common discourse. For clarity is possible only if precision in expression is available. That tends to privilege languages that have large vocabularies and whose constructions, both formal and idiomatic, are broadly understood. There are many fine aspects to this, including how relations and time are expressed in particular languages. The capable speaker / writer is one who appreciates those things and is careful about them.
I’ve occasionally wielded a barbed flail about certain sins common among fiction writers. This isn’t the time for that, nor am I in the mood for it anyway. Rather, I’d like to emphasize something that a lot of writers, excessively concerned with being “creative,” have managed to miss:
Above all else, the reader must know what’s going on.
The very worst writers completely discard clarity in an attempt to impress with involutions and vermiculations. I’ve called that literary masturbation before this, and in retrospect, that’s exactly the right term for it. The storyteller must serve the story, not the other way around. If he serves the story, he serves the reader… and the reader will love him for it.
Mind you, I’m not talking about deliberate ambiguity after the manner of Gene Wolfe in his early work The Fifth Head of Cerberus. That’s a choice to tell a particular kind of tale: one I wouldn’t tell, but such stories do have their aficionados. My shafts are aimed at the writer who puts his ego above the stories he tells.
Some writers I’ve admired have slipped and fallen that way. The late Robert B. Parker, my favorite writer of detective thrillers, had a tendency to do so when Spenser, his series detective character, got into hand-to-hand combat with an antagonist. There’s a particularly painful case of that in his novel Chance. In an attempt to convey the speed and violence of desperate hand-to-hand combat, Parker discards all punctuation and several rules of grammar. We do get speed and violence, but we don’t get clarity.
Heed me on this as on no other subject, storytellers and storytellers-to-be: Clarity comes first. No imaginative construction or special effect matters more than keeping the reader aware of what’s happening, as precisely as the English language will allow. Hew to that rule and your readers, however many they may be, will follow you to the ends of the thesaurus. Trust me on that.