Liars, Con-Men, and Writers: On Specificity and Believability

There’s a scene in Shakespeare’s Henry IV Part 1 in which Falstaff explains why he and three of his fellows ran away from a fight. They were ambushed, he tells Prince Hal, by a hundred armed men. His account is harrowing:

                 I am eight times thrust through the
doublet, four through the hose; my buckler cut
through and through; my sword hacked like a
hand-saw…

Notice the specificity of the detail he offers. Falstaff invites his listener into the scene, makes his story believable by providing these details that add texture. Eight sword-thrusts through his doublet and four through his hose! Those telling details speak not only of the violence of the encounter, but also the nearness of the danger.

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Five Lessons on Writing from Jerry Seinfeld

This NY Times video of Jerry Seinfeld explaining his joke-writing process has been floating around the Internet for years, so you may have seen it already. But it’s well worth revisiting, especially on Fat Tuesday, a day devoted to jollity.

Watching this (for the umpteenth time), I’m struck by how many of Seinfeld’s lessons for joke-writing apply to writing of all kinds. Here are a few: 

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Love Letters–Valentine’s Day 2019

When I was a much younger man, I found myself in the greeting card section of some store or other while my young bride was shopping. To pass the time, I started reading the greeting cards–first the funny ones, then the lovey-dovey ones. And what I saw among the lovey-dovey ones shocked and mortified me: Every idea or feeling expressed in every one of those cards was an idea or feeling that I had, at one time or another, considered putting into a poem or letter to my wife.

Somehow we get it in our heads that our emotions are unique. It was a blow to my ego to stand there in the greeting card aisle and realize that all those highly refined feelings I felt about my wife had been felt before–and by enough people that those feelings could become the basis of a mass-market product! 

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Write Better Description

A couple of weeks ago, I hosted my first webinar, on writing vivid description. I wanted to share an example from that webinar with those of you who weren’t there.

I try not to teach from negative example, but this one sentence manages to violate all four of my guidelines for good description, so I thought you would find it instructive. Allow me to mention that this sentence was written by a person who actually writes quite well. We all have our slip-ups; and as you are about to see, this sentence is only a slip-up, not a spectacularly bad piece of writing. Here it is:

Humble little town homes sat situated above unique cafes on these quaint roads, right where renowned scholars and thinkers and poets had once walked.

See? This isn’t flagrant. It’s the kind of writing you see all the time, and under normal circumstances you might pass right by it and not think about it one way or another. And that’s part of the problem—the reader wouldn’t think about this description one way or another, or envision anything either.

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