Thoughts provoked by “Several short sentences about writing” by Verlyn Klinkenborg
Many years ago my training persuaded me that the key to good business writing was to organise one’s thinking before starting to write. As an editor at McKinsey & Company in the 1980s, I became used to building a logical structure before starting to write any prose.
How liberating then to read in Klinkenborg's book that the writer's job is “making sentences”. And how refreshing to come across a book about writing that does not try to sell a systematic approach to the subject.
Here is one small example of what the author says about sentences (I could have chosen many but this one will do to show how precise and revealing his own sentences are):
We forget something fundamental as we read:
Every sentence could have been otherwise but isn’t.
We can’t see all the decisions that led to the final shape of the sentence.
But we can see the residue of those decisions.
Klinkenborg sweeps away much conventional wisdom about writing. His book left me itching to begin my next piece of writing rather than introducing it. And I couldn’t wait to experiment with cutting down on transitional words and phrases. Readers don’t need their hand held at every step. If we write clearly enough, they will never have trouble following us, writes Klinkenborg.
Even as I write this piece now, I am experimenting (and in some cases struggling) with Klinkenborg’s ideas. For instance, I am not yet in the habit of creating each sentence in my mind before writing it down, as he recommends. Often the opening words suggest themselves to me and I then find it hard to resist touching the keyboard while I keep searching for the rest of the sentence.
Nonetheless, I feel liberated in so many ways by this unusual book.
It has reassured me that there is no “right” subject to write about. If I start by noticing what fascinates me and then write clear, direct sentences about that, my prose stands a good chance of engaging readers. Good writing can make any subject interesting.
And if I revise a text over and over again, I won’t necessarily edit the life out of it. On the contrary, it may come alive as I re-order words, slice out unnecessary verbiage and uproot clichés. All writing is revision, writes Klinkenborg. Making prose demands sustained effort. How reassuring.
I can even give up trying to “find my voice”. It might just emerge naturally, provided I keep composing clear, fresh sentences about things that matter to me.
Ever since I can remember, I have loved language. Now I will devote myself to it as never before.
Related reading
Verlyn Klinkenborg. Several short sentences about writing. Vintage Books, 2013.
Many years ago my training persuaded me that the key to good business writing was to organise one’s thinking before starting to write. As an editor at McKinsey & Company in the 1980s, I became used to building a logical structure before starting to write any prose.
How liberating then to read in Klinkenborg's book that the writer's job is “making sentences”. And how refreshing to come across a book about writing that does not try to sell a systematic approach to the subject.
Here is one small example of what the author says about sentences (I could have chosen many but this one will do to show how precise and revealing his own sentences are):
We forget something fundamental as we read:
Every sentence could have been otherwise but isn’t.
We can’t see all the decisions that led to the final shape of the sentence.
But we can see the residue of those decisions.
Klinkenborg sweeps away much conventional wisdom about writing. His book left me itching to begin my next piece of writing rather than introducing it. And I couldn’t wait to experiment with cutting down on transitional words and phrases. Readers don’t need their hand held at every step. If we write clearly enough, they will never have trouble following us, writes Klinkenborg.
Even as I write this piece now, I am experimenting (and in some cases struggling) with Klinkenborg’s ideas. For instance, I am not yet in the habit of creating each sentence in my mind before writing it down, as he recommends. Often the opening words suggest themselves to me and I then find it hard to resist touching the keyboard while I keep searching for the rest of the sentence.
Nonetheless, I feel liberated in so many ways by this unusual book.
It has reassured me that there is no “right” subject to write about. If I start by noticing what fascinates me and then write clear, direct sentences about that, my prose stands a good chance of engaging readers. Good writing can make any subject interesting.
And if I revise a text over and over again, I won’t necessarily edit the life out of it. On the contrary, it may come alive as I re-order words, slice out unnecessary verbiage and uproot clichés. All writing is revision, writes Klinkenborg. Making prose demands sustained effort. How reassuring.
I can even give up trying to “find my voice”. It might just emerge naturally, provided I keep composing clear, fresh sentences about things that matter to me.
Ever since I can remember, I have loved language. Now I will devote myself to it as never before.
Related reading
Verlyn Klinkenborg. Several short sentences about writing. Vintage Books, 2013.
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