| On writing well |
| 1 | One of the pictures hanging in my office in mid-Manhattan is a photograph of the writer E. B. White. It was taken by Jill Krementz when White was 77 years old, at his home in North Brooklin, Maine. |
| 2 | A white-haired man is sitting on a plain wooden bench at a plain wooden table—three boards nailed to four legs—in a small boathouse. The window is open to a view across the water. White is typing on a manual typewriter, and the only other objects are an ashtray and a nail keg. The keg, I don't have to be told, is his wastebasket. |
| 3 | Many people from many corners of my life—writers and aspiring writers, students and former students—have seen that picture. They come to talk through a writing problem or to catch me up on their lives. But usually it doesn't take more than a few minutes for their eye to be drawn to the old man sitting at the typewriter. What gets their attention is the simplicity of the process. White has everything he needs: a writing implement, a piece of paper, and a receptacle for all the sentences that didn't come out the way he wanted them to. |
| 4 | Since then writing has gone electronic. Computers have replaced the typewriter, the delete key has replaced the wastebasket, and various other keys insert, move and rearrange whole chunks of text. But nothing has replaced the writer. He or she is still stuck with the same old job of saying something that other people will want to read. That's the point of the photograph, and it's still the point—30 years later—of this book. |
| 5 | I first wrote On Writing Well in an outbuilding in Connecticut that was as small and as crude as White's boathouse. My tools were a dangling lightbulb, an Underwood standard typewriter, a ream of yellow copy paper and a wire wastebasket. I had then been teaching my nonfiction writing course at Yale for five years, and I wanted to use the summer of 1975 to try to put the course into a book. E. B. White, as it happened, was very much on my mind. |
| 6 | I had long considered him my model as a writer. His was the seemingly effortless style—achieved, I knew, with great effort—that I wanted to emulate, and whenever I began a new project I would first read some White to get his cadences into my ear. But now I also had a pedagogical interest: White was the reigning champ of the arena I was trying to enter. The Elements of Style, his updating of the book that had most influenced him, written in 1919 by his English professor at Cornell, William Strunk Jr., was the dominant how-to manual for writers. |
| 7 | Tough competition. Instead of competing with the Strunk & White book I decided to complement it. The Elements of Style was a book of pointers and admonitions: do this, don't do that. What it didn't address was how to apply those principles to the various forms that nonfiction writing and journalism can take. That's what I taught in my course, and it's what I would teach in my book: how to write about people and places, science and technology, history and medicine, business and education, sports and the arts and everything else under the sun that's waiting to be written about. |
| 8 | So On Writing Well was born, in 1976, and it's now in its third generation of readers, its sales well over a million. Today I often meet young newspaper reporters who were given the book by the editor who hired them, just as those editors were first given the book by the editor who hired them. I also often meet gray-haired matrons who remember being assigned the book in college and not finding it the horrible medicine they expected. |
| 9 | Sometimes they bring that early edition for me to sign, its sentences highlighted in yellow. They apologize for the mess. I love the mess. As America has steadily changed in 30 years, so has the book. I've revised it six times to keep pace with new social trends (more interest in memoir, business, science and sports), new literary trends (more women writing nonfiction), new demographic patterns (more writers from other cultural traditions), new technologies (the computer) and new words and usages. |
| 10 | I've also incorporated lessons I learned by continuing to wrestle with the craft myself, writing books on subjects I hadn't tried before: baseball and music and American history. My purpose is to make myself and my experience available. If readers connect with my book it's because they don't think they're hearing from an English professor. They're hearing from a working writer. My concerns as a teacher have also shifted. |
| … |
Комментарии