How to Write with Style

Kurt Vonnegut

Newspaper reporters and technical writers are trained to reveal almost nothing
about themselves in their writings. This makes them freaks in the world of writers, since
almost all of the other ink-stained wretches in that world reveal a lot about themselves to
readers. We call these revelations, accidental and intentional, elements of literary style.
These revelations are fascinating to us as readers. They tell us what sort of person
it is with whom we are spending time. Does the writer sound ignorant or informed, crazy
or sane, stupid or bright, crooked or honest, humorless or playful? And on and on.
When you yourself put words on paper, remember that the most damning
revelation you can make about yourself is that you do not know what is interesting and
what is not. Don't you yourself like or dislike writers mainly for what they choose to
show you or make you think about? Did you ever admire an empty-headed writer for his
or her mastery of the language? No.
So your own winning literary style must begin with interesting ideas in your head.
Find a subject you care about and which you in your heart feel others should care about.
It is this genuine caring, and not your games with language, which will be the most
compelling and seductive element in your style.
I am not urging you to write a novel, by the way, although I would not be sorry if
you wrote one, provided you genuinely cared about something. A petition to the mayor
about a pothole in front of your house or a love letter to the girl next door will do.
Do not ramble, though.
As for your use of language: Remember that two great masters of our language,
William Shakespeare and James Joyce, wrote sentences which were almost childlike
when their subjects were most profound. "To be or not to be?" asks Shakespeare's Hamlet.
The longest word is three letters long. Joyce, when he was frisky, could put together a
sentence as intricate and glittering as a necklace for Cleopatra, but my favorite sentence
in his short story "Eveline" is this one: "She was tired." At that point in the story, no other
words could break the heart of a reader as those words do.
Simplicity of language is not only reputable, but perhaps even sacred. The Bible
opens with a sentence well within the writing skills of a lively fourteen-year-old: "In the
beginning God created the heavens and the earth."
It may be that you, too, are capable of making necklaces for Cleopatra, so to
speak. But your eloquence should be the servant of the ideas in your head. Your rule
might be this: If a sentence, no matter how excellent, does not illuminate my subject in
some new and useful way, scratch it out. Here is the same rule paraphrased to apply to
storytelling, to fiction: Never include a sentence which does not either remark on
character or advance the action.
The writing style which is most natural for you is bound to echo speech you heard
when a child. English was the novelist Joseph Conrad's third language, and much that
seems piquant in his use of English was no doubt colored by his first language, which
was Polish. And lucky indeed is the writer who has grown up in Ireland, for the English
spoken there is so amusing and musical. I myself grew up in Indianapolis, Indiana, where
common speech sounds like a band saw cutting galvanized tin and employs a vocabulary
as unornamental as a monkey wrench.
In some of the more remote hollows of Appalachia, children still grow up hearing
songs and locutions of Elizabethan times. Yes, and many Americans grow up hearing a
language other than English, or an English dialect a majority of Americans cannot
understand.
All these varieties of speech are beautiful, just as the varieties of butterflies are
beautiful. No matter what your first language, you should treasure it all your life. If it
happens not to be standard English, and if it shows itself when you write standard English,
the result is usually delightful, like a very pretty girl with one eye that is green and one
that is blue.
I myself find that I trust my own writing most, and others seem to trust it most,
too, when I sound most like a person from Indianapolis, which is what I am. What
alternatives do I have? The one most vehemently recommended by teachers has no doubt
been pressed on you, as well: that I write like cultivated Englishmen of a century or more
ago.
I used to be exasperated by such teachers, but am no more. I understand now that
all those antique essays and stories with which I was to compare my own work were not
magnificent for their datedness or foreignness, but for saying precisely what their authors
meant them to say. My teachers wished me to write accurately, always selecting the most
effective words, and relating the words to one another unambiguously, rigidly, like parts
of a machine. The teachers did not want to turn me into an Englishman after all. They
hoped that I would become understandableand therefore understood.
And there went my dream of doing with words what Pablo Picasso did with paint
or what any number of jazz idols did with music. If I broke all the rules of punctuation,
had words mean whatever I wanted them to mean, and strung them together higgledy-
piggledy, I would simply not be understood. So you, too, had better avoid Picasso-style
or jazz-style writing, if you have something worth saying and wish to be understood.
If it were only teachers who insisted that modern writers stay close to literary
styles of the past, we might reasonably ignore them. But readers insist on the very same
thing. They want our pages to look very much like pages they have seen before.
Why? It is because they themselves have a tough job to do, and they need all the
help they can get from us. They have to identify thousands of little marks on paper, and
make sense of them immediately. They have to read, an art so difficult that most people
do not really master it even after having studied it all through grade school and high
school for twelve long years.
So this discussion, like all discussions of literary styles, must finally acknowledge
that our stylistic options as writers are neither numerous nor glamorous, since our readers
are bound to be such imperfect artists. Our audience requires us to be sympathetic and
patient teachers, ever willing to simplify and clarifywhereas we would rather soar high
above the crowd, singing like nightingales.
That is the bad news. The good news is that we Americans are governed under a
unique Constitution, which allows us to write whatever we please without fear of
punishment. So the most meaningful aspect of our styles, which is what we choose to
write about, is unlimited.
Also: We are members of an egalitarian society, so there is no reason for us to
write, in case we are not classically educated aristocrats, as though we were classically
educated aristocrats.
For a discussion of literary style in a narrower sense, in a more technical sense, I
commend to your attention The Elements of Style by William Strunk, Jr., and E. B.
White (Macmillan, 1979). It contains such rules as this: "A participial phrase at the
beginning of a sentence must refer to the grammatical subject," and so on. E. B. White is,
of course, one of the most admirable literary stylists this country has so far produced.
You should realize, too, that no one would care how well or badly Mr. White
expressed himself, if he did not have perfectly enchanting things to say.