Writing: April 2008 Archives

The Last Word

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Something happened today and rather than lose my temper I thought I'd write about it. In a class today, I saw a technical writer present on the distinctions between different kinds of writing. That's a good way to get me riled up. Then she went on in great detail elaborating on how, common wisdom suggests, clear, concise, and logical writing should not be creative. I don't mean to be arrogant; I'm sure the title of this post is ironic. But at the same time, I feel compelled to move the argument in new directions. That this is the last word on grammar shall be a kind of joke between me and whoever reads this blog.

Some of the clearest, most concise writing is creative and unexpected. Writing doesn't need to be lifeless to get a point across. The spaceships hung in the sky in the exact way that bricks don't, Douglas Adams wrote. Does anyone not understand that? The girl's problem is this: She was confusing sloppy grammar, esoteric weirdness, and artsy garbage with genuine creativity. When ideas are expressed in a creative way, we are more likely to remember them. Think of Ben Franklin's witty remarks. (Not just the Poor Richard quotes, but also the serious ones, as in his essay Whistle: When I see a beautiful, sweet-tempered girl married to an ill- natured brute of a husband, What a pity, say I, that she should pay so much for a whistle.)

One of the technical writer's main points was that if someone misreads the directions on a product, they could potentially harm themselves. It reminds me of a misting fountain I once bought at a novelty store. I never read instructions, but this time I did. The Korean technical writer admonished me -- I'll never  forget -- Be warning! If mist too big and wet table, do not touch or electric shock shall harm you! I might not have thought of that if I hadn't read the instructions. And I certainly wouldn't have read the instructions if they weren't... creative. That was three or four years ago.

First, Will Strunk Jr. and E.B. White's thoughts on conciseness (another of the girl's main arguments against creativity in technical writing).

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell.
So we may safely say that all writing, not just technical writing, should be concise. Or else it will not be vigorous. Fair enough. No one would accuse Ernest Hemingway or Ivan Bunin of not being concise. In fact, they are laconic.

Now, I will offer this question: Why is grammar important?

If grammar were so important and rigid, how could good writers get away with breaking the rules? I am confident grammar matters because without proper grammar, we would not be able to understand what writing says. Errors are distracting, they break the spell of reading, destroy the vivid and continuous dream. But intentional bending of the rules is not distracting. So we need conventions to understand one another. Clarity above all things.

But wait: Why is clarity important? Why clarity above all things?

Because clarity allows communication. It allows a connection between author and reader. It makes the process dynamic.

Therefore, grammar matters only in terms of clarity, which matters only in terms of connecting as human beings.

The End

I am confident we have no reason to teach what we cannot do. A professor has no business talking extensively on a subject he or she knows nothing about. Likewise a writing teacher shouldn't be teaching writing if he or she can't put a sentence together.

By the time most instructors finish their master's degrees and set about teaching, each has come up with a style of writing that carried that writer through school. Maybe someone pours a glass of Scotch and sets it on the windowsill with a cigarette. Then she writes all night and won't touch the goodies until she's done 5,000 words. Or maybe the writer writes a draft each day and rewrites every morning, but never on a Sunday. Maybe one writer revises as he writes, or writes it all in a 23-hour marathon.

The point is that most writing teachers have a system. We can do as well as teach. We know how good writing gets written. Especially by the time we are working on advanced degrees.

That said, this assignment in Missouri State's practicum--the "Writing What We Teach" assignment from English 603, practicum--helps and hurts instructors. It helps because it draws attention to the process of writing again, things we have internalized. It turns writing inside out, and gives us empathy for students. But it is also a chore, and it does destroy some of the mysticism about writing.

It takes off, as Hemingway said, "Whatever butterflies have on their wings." It dissects the magic. And although we gain empathy, we are forced to drag out all of our secrets and then use them, somehow, to find a way to teach our students. But don't most of us do that already? Maybe I'm wrong, but I think we do.

I think the problem is this: The assignment didn't force us to do anything differently. Speaking for myself, this is how I teach anyway. I tell my students about how I write, how others have written, and so on. We talk about the messy process--a buzzword for a long time now in composition classrooms--and we revise and rewrite and generally draft together. I write all the time anyway. In a very fundamental way, I am always writing what I teach.

I would guess that there are not a few students who, for example, write textual analyses in their advanced literature classes--Shakespeare and Chaucer, etc. So do we really need to do it again?

If anything, the "Writing What We Teach" assignment in our practicum helps us to be mindful, understanding, and empathetic. Everyone needs to be reminded of a student's plight sometimes. But we live a student's life, too. We lead double lives.

In conclusion, I can't say I will use this assignment when I teach my class. It hasn't modified my views on how to teach, what to lecture on, etc. (my pedagogy). This isn't a reflection on the assignment, of course, but simply an observation. Using my own writing process as an example for students--or as a way to understand students, or whatever--is just a side effect of the way I have always taught.

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Calvin & Hobbes by Bill Watterson
Image Source: http://www.cgu.edu/images/calvin-writing.gif
Next Wednesday I will be reading the first chapter of my novel The Body of Emperor Norton at the Library Center on South Campbell as part of Missouri State's Soul of a Poet series. I haven't decided if I'll read the second chapter, too (I may have time to fill). All I know is that I'm nervous about standing up behind the podium with a captive audience. As far as I can remember, this will be the first reading I've ever given.

I'm hard at work on three new articles for 417 Magazine, all of which will appear in June. The first is a honeymoon/travel piece for 417 Bride detailing the adventures of Jeff and Leah Jenkins in London ("A Druid with a Briefcase"). The second is a personal profile of supermom Elizabeth Farris, who travels with her four kids and husband Eric to all corners of the globe. The last is the chronicle of a motorcycle trip through Germany by Don and Sue Rollins. Again, look for those essays in June.

Besides that I'm focusing on teaching and graduating. I need to start developing my thesis now, studying for comprehensive exams, and I also need to take a test from Modern & Classical Languages in Russian Literature. That is, I need to demonstrate that I can read Russian. It looks like I have a busy spring ahead of me and I'm going to do my best to stay positive, stay happy, and stay on track.



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About this Archive

This page is a archive of entries in the Writing category from April 2008.

Writing: March 2008 is the previous archive.

Writing: May 2008 is the next archive.

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