Journalism for Women, Arnold Bennett [most read books in the world of all time .txt] 📗

into its component parts--not less urgent than parsing. This branch of the subject is treated well and thoroughly in Mr. Wetherell's book, and his exercises should be worked through conscientiously. Note further, in the same primer, the division relating to syntax, and especially the exercises on pp. 74, 75. The chapter on conjunctions is also of serious importance to women.

4. By "composition," I mean merely the art of writing without transgressing the rules of grammar and kindred canons by which all writers agree to be bound. The higher matter of "style" will be treated in the next chapter.

The best book on this subject is Professor Nichol's _English Composition_ (Macmillan's, 1s.). It is small, but it omits no point on which beginners are likely to err. Women should give particular attention to the following:--

False concords, p. 22.

Purity in the use of words, p. 33.

Want of discrimination between synonyms, p. 39.

Carelessness as to the meaning of sentences, p. 42.

The use of relatives, p. 52. Professor Nichol most truthfully says: "The most fertile source of confusion in English is a slovenly use of relatives."

Arrangement, p. 63.

For guidance as to punctuation, study _Stops_, by Paul Allardyce (F. Fisher Unwin, 1s.). No book, however, could possibly deal with every point likely to arise under our wonderful English system of punctuation. It is an excellent plan to read aloud any sentence which presents a difficulty, and to punctuate it according to the pauses made (almost unconsciously) by the voice. This method is well-nigh infallible. If doubt still remains, remember that it is better to punctuate too little than too much.

* * * * *


Concurrently with the study of newspapers, spelling, grammar, and composition, the aspirant must make a practice of writing daily a short interesting description (say five hundred words) of some event or scene personally observed during the day. Nothing should be allowed to interfere with the regularity of this exercise, which is essential, not only for the improvement of style, but also for the sharpening of that faculty of subject-selection so necessary to the journalist. It is idle to say: "Nothing interesting ever happens within _my_ ken," There is no event, no scene, but has its interesting aspect. Your business, madam, is to discover that aspect.

* * * * *


It may be well to state here that neither shorthand nor typewriting is requisite to the ultimate success of the journalistic aspirant. The common notion that shorthand is part of the equipment of every journalist is quite wrong. If, however, the aspirant possesses a typewriter and the skill to use it, she will of course be able to get her articles transcribed for nothing.


Chapter V


Style

"How can I acquire a good style of writing?"

Pathetic question, invariably asked by the artless beginner!

You cannot _acquire_ a good style; only a bad style can be acquired.

It is a current impression that style is something apart from, something foreign to, matter--a beautiful robe which, once it is found, may be used to clothe the nudity of matter. Young writers wander forth searching for style, as one searches for that which is hidden. They might employ themselves as profitably in looking for the noses on their faces. For style is personal, as much a portion of one's self as the voice. It is within, not without; it needs only to be elicited, brought to light.

The one possible way of developing the latent style which has always been yours, is to forget absolutely that such a thing as style exists.

For good style consists in saying exactly what you mean with the utmost clearness and the utmost naturalness: simply that! When you have accomplished so much, you have accomplished good style. In no sense is style of the nature of embroidery, an ornament superimposed: this is what the beginner fails to grasp; she somehow cannot rid herself of the superstition that after the meaning is precisely expressed, something further remains to be done.

I have put clearness and naturalness as the two attributes of good style. Clearness need not be defined. Naturalness will not suffer definition; it depends on the individual, and must be determined by the individual. What is proper for one person may be improper for another. Carlyle was ungraceful with impunity; Lamb could not have been so. We may no more choose our styles than our characters. Style, like character, can, it is true, be trained--strengthened, chastened, refined, rendered shapely; but in essentials it must for ever remain as it originally was. It is the expression, not only of the thoughts immediately to be set down, but of the very man himself, and with the man it will develop. It cannot be invented; it cannot be concocted. It must be a natural growth--watched, tended, fostered, pruned, but after all a natural growth.

* * * * *


To find out, to uncover, one's true style; to lay bare one's self: how is this to be set about? Primarily, by experiment in the way of imitation, which is the commencement of all art. Every great artist--Shakspere, Beethoven, Velasquez, Inigo Jones--has started by imitating the models which he admired and to which he felt drawn. You must do the same. It is the surest and indeed the only way of arriving at one's true individuality.

I do not find it easy to recommend exemplars to the aspirant; so many writers of indubitable greatness have been fatal to their disciples; take the trite instance of Carlyle, whose influence twenty years ago ruined styles innumerable. Shakspere and Congreve, possibly our two supreme prose artists, have styles which, in directness and freedom from mannerism, are well suited to be models for the young journalist; but since they wrote only dialogue, now archaic in many details, it is very difficult for the young journalist to follow them with profit in descriptive work. Among modern writers, Mrs. Alice Meynell has a style unsurpassed in simplicity, fineness, and strength. Nevertheless I hesitate to name her as a model, lest the student, in trying to attain her succinct perfection, should fall into mere baldness. On the whole, my inclination turns towards Huxley's _Essays_. Here you have a style which, though by no means great, possesses every good quality, and has besides no tricks to lead the beginner astray; nothing more adorably fitted to the uses of newspaper work could be conceived. To these might be added the letters of Cowper, and the more popular essays of Matthew Arnold.

Paraphrasing is an excellent practice. Read a passage from the author of your choice; grasp thoroughly its purport, but do not learn it by heart. Then close the book, and endeavour to set down in fresh words the thing you have read. In a few days (not at once) compare your work with the classic. The comparison will induce humility, and humility is the beginning of knowledge. After a period of pure imitation you will begin, at first almost imperceptibly, to diverge into a direction of your own. Then proceed warily, making the curve very gradual.

Never attempt to pass judgment on your writing before it is a week old. Until a reasonable interval has elapsed, it is impossible for you to distinguish between what you had in your mind and what is actually on the paper; the brain, still occupied with the thought to be expressed, unconsciously supplies the omissions and clarifies the obscurities of the written word, which thus seems more satisfactory and convincing than it really is. With the passage of time, the thought fades, and the written expression of it, no longer illuminated by memory, must then stand with you on its intrinsic merits. When thus examining your work, read it aloud: the process will disclose weaknesses of all sorts not previously suspected.

Do not destroy anything which you have written. It is well from time to time to refer to past work. To find that one has progressed is always an encouragement to further effort.

So far generally.

As this book does not happen to be a guide to style, it is impossible here to discuss every point likely to arise during the aspirant's self-education in the art of literary expression. But there are several scarlet sins against which she must be briefly warned.

The worst of them is the sin of using trite expressions--phrases, figures, metaphors, and quotations; such as--not to mince the matter, took occasion to, won golden opinions, the cynosure of all eyes, mental vision, smell of the lamp, read mark learn and inwardly digest, inclines towards, indulge in, it is whispered, staple topic of conversation, hit the happy medium, not wisely but too well, I grieve to say, reign supreme, much in request, justify its existence, lend itself amiably to, choice galore, call for remark, hail with delight; and forty thousand others. The work of some writers is chiefly made up of these hackneyed locutions. Says Schopenhauer, in an illuminative passage which I cull from his clever but uneven essay "On Authorship and Style":--"Everyday authors are only half conscious when they write, a fact which accounts for their want of intellect and the tediousness of their writings: they do not really themselves understand the meaning of their own words, because they take ready-made words and learn them. Hence they combine whole phrases more than words--_phrases banales_. This accounts for that obviously characteristic want of clearly defined thought; in fact, they lack the die that stamps their thoughts, they have no clear thought of their own; and in place of it we find an indefinite, obscure interweaving of words, current phrases, worn-out terms of speech, and fashionable expressions. The result is that their foggy kind of writing is like print that has been done with old type. On the other hand, intelligent people _really_ speak to us in their writings, and this is why they are able both to move and to entertain us. It is only intelligent writers who _place individual words together with a full consciousness of their use,_ and select them with deliberation."

If you have something to say, instead of accepting the first phrases that present themselves (which are naturally those you have heard the most often, and therefore the tritest), endeavour to express yourself in words of your own individual choice, _selected singly_. When you have put a sentence together, examine each word separately, and unless it can satisfactorily account for its position there, by proving appositeness and either originality or indispensability, then cast it aside. The conscientious performance of this rite will soon give a wonderful freshness and piquancy to your style.

Here I must mention a book invaluable to all writers--a book of which I (as a writer) think so well, that if I might only possess one book and had to choose between this and a Shakspere, I would let the Shakspere go. I refer to Roget's _Thesaurus of English Words and Phrases_ (Longman, 10s. 6d.). It is in effect a vast collection of synonyms, divided and subdivided minutely and with precision. When you lack the _mot juste_, turn in the index at the end of the volume to any word