Dear fiction writers of today,
I love to read, and I would love to read your stories, but I need your help.
When you revise your manuscripts, when you cut out all material that is needlessly repetitive, wastefully superfluous, when you reduce five hundred words to one hundred, please pay a similar attention to grammar and usage, to the sound and meaning of your sentences, and to the unblocked, immersive flow of your narratives.
In too many stories of today, I find ambiguous modifiers, ambiguous antecdents, and even, within multiple clauses, ambiguous subjects.
I see the misapplication of too many present participles, when what you need is the simple past tense. You might also be tempted to support a weak verb with a present participle afterthought, but what you actually need is a lively main verb.
If you choose your nouns and verbs for precision and for vivid clarity, you will find less need for adjectives and adverbs, for subordinate clauses that prop up the main clause in the ways that flying buttresses prop up cathedrals.
Explain when you must, but only when you must. Readers are smart enough to understand implication. They know that when you say 2+2, what you actually mean is four. You can also rely on a reader's empathy. Set up conditions for an emotional response, for epiphany, and a reader will feel it. You have no need to spell out the obvious.
When you place a reader inside your story as a participant guided by a consistently-maintained viewpoint character, when you allow this reader to follow events without interruption, just as your viewpoint character would, when you allow the reader to be disturbed or surprised by the same discoveries made by this character at the same time, then you have a strong chance of hooking this reader's attention. A reader grabbed is a reader who keeps on reading.
Revise with a reader's ear. Revise aloud. This allows you to catch unwanted alliteration, unwanted assonance, end rhymes in clauses or sentences, repetitive rhythms, and ugly, clashing consonants. Always assume that your readers will hear this noise, and run away from it as they would from a mistuned marching band.
Please note that these recommendations can apply to any style. You might cut without mercy for a style as naked as the writing of H. E. Bates, Edith Wharton, or Sarah Orne Jewett; you might construct and paint a style as ornate as Clark Ashton Smith's, Elizabeth Bowen's, or William Sansom's. Either way is fine, as long as you control the result. For a non-fiction example, think of Thomas Browne. You might raise an eyebrow at his latinate vocabulary, but notice how he relies on verbs to propel the sentences. Notice how his clauses remain clear despite their boxes-within-boxes complexity. No matter how complicated his prose might become, Browne maintains control.
The means of control are the basic principles mentioned here, and these controls will help you to find and to keep readers.
You will also keep me, with my gratitude.
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