Gotta disagree about details. Too many literary writers suffer from what I call detail disease, an ailment associated with its cousin, word clot. The masters of detail were Ernest Hemingway and Georges Simenon, who could capture the atmosphere of a cafe or a river with a phrase or two. They always picked the right detail to provoke an image and feelings in the mind of the reader. With Simenon, you can taste the food and beer.
Counter examples are New Yorker mag writers who pile on details from the first sentence-- think Alice Munro-- and the reader is fortunate to survive past the first paragraph.
Erik, I was working on something with Becky and wrote her this note:
Becky, not to sound slavering, but the two posts with “Twenty Things To Do before Submitting” really offers some powerfully tight coaching. Really worth saving for reference.
My only push back…I think a writer might find him/herself wearing all of his/her best clothes on the same day or even altering his/her voice by strictly following these (especially the two items in the second list of ten, #2 Nothing but details, and #5 Nothing but Figurative language). I think I buy the details suggestion without reservation, but the figurative language…well…at least Erik Harper Klass mentioned Ray Carver as an antidote to this.
I’m reading John McPhee’s latest little book, “Tabula Rasa” right now, and wow, what a man for details. But his journalistic voice would be ruined by the kind of figurative flourishes suggested be used in spades in #5. I find flowers can get in the way of storytelling by what I pick up and read sometimes.
My counter argument against #5: Just this summer, I tried to read Willa Cather’s “masterpiece” titled "My Antonia." About 100 pages in I had to put it down. Despite all of the gorgeous descriptions of the prairie, I started asking myself, “What’s the point?” “Where the hell is the plot?” When is THAT writing element going to unfold?
As for Willa Cather...give me some Oakley Hall instead. When is somebody going to get shot? When is somebody going to ride off in a cloud of dust?
Great point about the five senses. Too many writers rely almost 100% on the visual. When I taught creative writing at Michigan State U., when I teach master classes and workshops, and when I work with writers individually, I try to help them amplify the senses in their work. It makes writing so much more vivid.
Aug 3, 2023·edited Aug 3, 2023Liked by Erik Harper Klass
Quintessentially every creative writing class in a nutshell. Great article, Erik, esp. the 5 senses, some of it will flow into each other, as you said details tend to be specific, but I like how you list the different areas of focus when doing an editing pass. Having all of them in mind when doing their pass is one of the many things that makes a great editor.
Fantastic. Tips 1-20 are now recorded in my hardcover journal. Details and specificity, senses, figurative language adds, and sentence patterning are all excellent focus points. Thank you so much for these segments.
Erik. As I said (and don't mean to overshadow with any note of questioning) I see your list as a wonderful resource and I plan to refer to it, and save it. In fact I don't think I've seen more writing wisdom and coaching horsepower gathered together in one place. Thanks so much!
Gotta disagree about details. Too many literary writers suffer from what I call detail disease, an ailment associated with its cousin, word clot. The masters of detail were Ernest Hemingway and Georges Simenon, who could capture the atmosphere of a cafe or a river with a phrase or two. They always picked the right detail to provoke an image and feelings in the mind of the reader. With Simenon, you can taste the food and beer.
Counter examples are New Yorker mag writers who pile on details from the first sentence-- think Alice Munro-- and the reader is fortunate to survive past the first paragraph.
Done properly, less is more.
Erik, I was working on something with Becky and wrote her this note:
Becky, not to sound slavering, but the two posts with “Twenty Things To Do before Submitting” really offers some powerfully tight coaching. Really worth saving for reference.
My only push back…I think a writer might find him/herself wearing all of his/her best clothes on the same day or even altering his/her voice by strictly following these (especially the two items in the second list of ten, #2 Nothing but details, and #5 Nothing but Figurative language). I think I buy the details suggestion without reservation, but the figurative language…well…at least Erik Harper Klass mentioned Ray Carver as an antidote to this.
I’m reading John McPhee’s latest little book, “Tabula Rasa” right now, and wow, what a man for details. But his journalistic voice would be ruined by the kind of figurative flourishes suggested be used in spades in #5. I find flowers can get in the way of storytelling by what I pick up and read sometimes.
My counter argument against #5: Just this summer, I tried to read Willa Cather’s “masterpiece” titled "My Antonia." About 100 pages in I had to put it down. Despite all of the gorgeous descriptions of the prairie, I started asking myself, “What’s the point?” “Where the hell is the plot?” When is THAT writing element going to unfold?
As for Willa Cather...give me some Oakley Hall instead. When is somebody going to get shot? When is somebody going to ride off in a cloud of dust?
Great point about the five senses. Too many writers rely almost 100% on the visual. When I taught creative writing at Michigan State U., when I teach master classes and workshops, and when I work with writers individually, I try to help them amplify the senses in their work. It makes writing so much more vivid.
Quintessentially every creative writing class in a nutshell. Great article, Erik, esp. the 5 senses, some of it will flow into each other, as you said details tend to be specific, but I like how you list the different areas of focus when doing an editing pass. Having all of them in mind when doing their pass is one of the many things that makes a great editor.
Fantastic. Tips 1-20 are now recorded in my hardcover journal. Details and specificity, senses, figurative language adds, and sentence patterning are all excellent focus points. Thank you so much for these segments.
Erik. As I said (and don't mean to overshadow with any note of questioning) I see your list as a wonderful resource and I plan to refer to it, and save it. In fact I don't think I've seen more writing wisdom and coaching horsepower gathered together in one place. Thanks so much!
I think I will print this out & have it handy when I write or edit. Great advice.
I thought these were great suggestions!
This is a great article - thanks for sharing! I particularly like the specific editing. I've not thought of doing that.
Great post!
Excellent suggestions. All of these tips can help bring a piece of writing to life.
Great advice! 🙌