Category Archives: Writing

John McWhorter on English Problems

Problems or inconsistencies with English: “But Shakespeare is not assumed to have been in his cups when he wrote in The Comedy of Errors, ‘There’s not a man I meet but doth salute me / As I were their well-acquainted friend’ (Act IV, Scene 111). Later, Thackeray in Vanity Fair tosses off ‘A person can’t help their birth.’ …”

Because the rest of us think it’s proper English to say, “One should take his opinion outside,” one and his being singular. In the above examples, Shakespeare says, “a man I meet . . . as I were their friend.”

I’m right to complain, aren’t I?

Similes Like Childhood Odors

This is from a published work. “Her pensive frown drew me like a smell from childhood.”

You know, I’m pretty familiar with childhood smells. I can smell one now, as a matter of fact, a powerful, pervading smell from a cute, little child. But this simile doesn’t work for other reasons. Let’s talk about it.

My first thought is the writer has mixed two senses. Her face or her thoughtful, moody appearance appeals to him. He sees her and remembers … an odor?

What if he saw she was deep in thought, and frowning in an adorable way? Perhaps she frowned over her hands at the floor. I walked up to her and said, “You remind me of a cookie.” Anyway, my good wife, who is not frowning now, said this sentence and the paragraph with it would be improved by focusing on the girl, not the narrator’s emotional reaction to her.

The sentence reminds me of these: “Her face was a perfect oval, like a circle that had its two sides gently compressed by a Thigh Master.”

“She had a deep, throaty, genuine laugh, like that sound a dog makes just before it throws up.”

That’s good writing.

First-person eschatology

It’s raining. It’s gloomy and grim and chilly out, with a Seattlesque drizzle coming down.

I love it.

I fully expect to have a blizzard before the month is over, though. That’s just the kind of dame March is.

I’m reading a very good mystery right now (I’ll tell you about it when I’m done), and as I thought it over, driving home, I was hit with the question, “What exactly is supposed to be going on in a first-person-narrative novel?”

I’m not asking about what’s going on in the plot of the story. I’m asking, how am I supposed to understand the narrator in relation to me as a reader?

I mean, think about it. You’ve got this (imaginary) person, who usually makes no claims to being a writer, who is nevertheless pouring out this carefully constructed, professionally polished (or so one hopes) narrative. In the narrator’s own alternate universe, how did this manuscript come to be? Continue reading First-person eschatology →

Watching for Details

Dublin poet Eamon Grennan sends us this poem about poetry, which I will only excerpt here:

“I was watching a robin fly after a finch—the smaller

chirping with excitement, the bigger, its breast blazing, silent

in light-winged earnest chase—when, out of nowhere . . . “

Decisions, decisions

Our friend Loren Eaton meditates on the question of whether writers are happy or unhappy people (and if unhappy, whether that’s a necessary condition). And he links to a good article by Nathan Bransford, literary agent, on how to be happy though creative.

Happy or sad? Happy or sad?



I’m thinking. I’m thinking.

National Grammar Day

Roy Jacobsen, of Writing Clear and Simple, alerts us that tomorrow is National Grammar Day.

Update: On closer examination, I note that National Grammar Day is actually today.

Unless you’re reading this tomorrow, of course, in which case it’s yesterday.

The Power of Words

Thomas Sowell has a good article on word usage. He writes, “The expression, ‘It goes without saying. . .’ is a fatal trap. Few things go without saying. Some of the most valuable things in life may go away without saying– whether loved ones in one’s personal life or the freedom or survival of a nation.”

The time is overdue for saying things.

Bridging the Chasm

Author Bret Lott at the 2006 Christy Awards:

Christ’s stories surprised His listeners. They were unexpected, yet the surprise of them was totally logical and clear and, finally, the kind of surprise that makes good literature good literature: the surprise turn in a story—not of plot, but of character—when the reader must come face to face with himself, and his own failures, and the dust of his own life, a dust with which we are each of us fully familiar, but which we forget about or ignore or accommodate ourselves to. The dust of our lives that we have grown accustomed to, and which it takes a piece

of art created in the spirit of Christ to remind us of ourselves, and our distance from our Creator—and the chasm that is bridged by Grace.