I’ve been meaning for a while to discuss “writing style” here, something I consider interesting but infuriatingly complicated.  Then, when Elmore Leonard died, I read his list of ten rules for writers somewhere on the internet and though them fatuous . . . until I just now visited this at the Detroit Free Press website where Leonard introduced them (to some writers’ group, I gather) as follows: “These are rules I’ve picked up along the way to help me remain invisible when I’m writing a book, to help me show rather than tell what’s taking place in the story. If you have a facility for language and imagery and the sound of your voice pleases you, invisibility is not what you are after, and you can skip the rules. Still, you might look them over.”  In other words, he isn’t telling us how to write, only giving us rules he has personally found useful and believes others may.

Moreover, at the Detroit Free Press website, he undogmatizes his rules with short commentaries (they’re annoying assertions by themselves, for me–although they do help you think about writing if, like me, you argue with them rather than just dismiss them.  Here they are, with my thoughts about them instead of his (to get me started on my discussion of literary style, however obliquely):

1. Never open a book with weather.

First, “book” needs to be defined as “novel.”  Counter-Rule: always carefully reconsider whether or not you really want to use the word “never” (or “always”) in a sentence.    But his real point is to quickly get to your plot and/or characters.  He doesn’t prohibit a little weather to begin with for atmosphere.

2. Avoid prologues.

This is really a restatement of the first rule.  I tend to agree with it but have read effective prologues.  Usually they are really first chapters their authors call prologues because it takes a while for their connection to what follows to become apparent.

3. Never use a verb other than “said” to carry dialogue.

I disagree.  There are times when ungeneralizing an action of a character can help portray him or contribute to the plot: e.g., “Here comes Herby,” Felicia groaned.

4. Never use an adverb to modify the verb “said” . . .

I say use as many adverbs as you can get away with.

5. Keep your exclamation points under control.

I love punctuation marks, myself.

6. Never use the words “suddenly” or “all hell broke loose.”

I’ve never used, “All hell broke loose,” but I use “suddenly” all the time.  I’m not sure how to avoid it.  It’s probably a good idea to try to find another locution when you do use it, though.

7. Use regional dialect, patois, sparingly.

This, generalized, reduces to stay where the reader can keep up with you.  Jane Austen versus the James Joyce of Finnegans Wake.  Gotta say to each his own.

8. Avoid detailed descriptions of characters.

It’s hard for me to describe anything in detail (except ideas, which I have trouble not describing in detail), so I’m for this.

9. Don’t go into great detail describing places and things.

See Rule 8.

10. Try to leave out the part that readers tend to skip.

In his comments about this rule, Leonard examerates, “If it sounds like writing, I rewrite it.”  Sure, but who’s to decide?  This is another example of the one rule too many makers of writing rules make: “Write good.”

I now close with a thank you to Elmore Leonard, an excellent writer I was sorry to learn has left us.

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