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On Writing Well BOOKS BY WILLIAM ZINSSER Any Old Place With You Seen Any Good Movies Lately? The City Dwellers Weekend Guests The Haircurl Papers Pop Goes America The Paradise Bit The Lunacy Boom On Writing Well Writing With a Word Processor Willie and Dwike (republished as Mitchell and Ruff) Writing to Learn Spring Training American Places Speaking of Journalism Easy to Remember AUDIO BOOKS BY WILLIAM ZINSSER On Writing Well How to Write a Memoir BOOKS EDITED BY WILLIAM ZINSSER Extraordinary lives: The Art and Craft of American Biography Inventing the Truth: The Art and Craft of Memoir Spiritual Quests: The Art and Craft of Religious Writing Paths of Resistance: The Art and Craft of the Political Novel Worlds of Childhood: The Art and Craft of Writing for Children They Went: The Art and Craft of Travel Writing Going on Faith: Writing as a Spiritual Quest On Writing Well cssao THE CLASSIC GUIDE TO WRITING NONFICTION 25th Anniversary Edition William Zinsser Quill A HarperResource Book An Imprint of HzrperCollinsPublishers ON WRITING WELL. Sixth Edition, revised and updated. Copyright © 1976, 1980, 1985, 1988, 1990, 1994, 1998, 2001 by William K. Zinsser. All rights reserved. Printed in the United States of America. No part of this book may be used or re- produced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information ad- dress HarperCollins Publishers Inc., 10 East 53rd Street, New York, NY 10022. HarperCollins books may be purchased for educational, business, or sales promo- tional use. For information, please write to: Special Markets Department, Harper- Collins Publishers, Inc., 10 East 53rd Street, New York, NY 10022. Designed by Alma Orenstein. First HarperResource Quill edition published 2001. Library of Congress Cataloging-in-Publication Data Zinsser, William Knowlton. On writing well : the classic guide to writing nonfiction / William Zinsser. — 25th anniversary ed. p. cm. Includes bibliographical references. ISBN 0-06-000664-1 1. English language—Rhetoric. 2 . Exposition (Rhetoric) 3. Report writing. I. Title. PE1429 .Z5 2001 808'.042—dc21 2001041623 ISBN 0-06-000664-1 (pbk.) 02 03 04 05 •/RRD 109 8 7 65 4 C O N T E N T S osso INTRODUCTION 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 PART I Principles The Transaction Simplicity Clutter Style The Audience Words Usage PART II Methods Unity The Lead and the Ending Bits & Pieces PART ill Forms Nonfiction as Literature Writing About People: The Interview Writing About Places: The Travel Article Writing About Yourself: The Memoir Science and Technology Business Writing: Writing in Your Job Sports Writing About the Arts: Critics and Columnists Humor ix 3 7 13 18 25 33 38 49 55 68 95 100 116 133 148 166 179 194 208 viii CONTENTS PART IV Attitudes 20 The Sound of Your Voice 233 2 1 Enjoyment, Fear and Confidence 243 22 The Tyranny of the Final Product 255 23 A Writer s Decisions 265 24 Write as Well as You Can 286 SOURCES 295 INDEX 301 INTRODUCTION CSSQ When I first wrote this book, in 1976, the readers I had in mind were a relatively small segment of the population: students, writ- ers, editors and people who wanted to learn to write. I wrote it on a typewriter, the highest technology then available. I had no inkling of the electronic marvels just around the corner that were about to revolutionize the act of writing. First came the word processor, in the 1980s, which made the computer an everyday tool for people who had never thought of themselves as writers. Then came the Internet and e-mail, in the 1990s, which com- pleted the revolution. Today everybody in the world is writing to everybody else, keeping in touch and doing business across every border and time zone. To me this is nothing less than a miracle, curing overnight what appeared to be a deep American disorder. I've been repeatedly told by people in nonwriting occupations—especially people in science, technology, medicine, business and finance—that they hate writing and can't write and don't want to be made to write. One thing they particularly didn't want to write was letters. Just getting started on a letter loomed as a chore with so many formalities—Where's the stationery? Where's the envelope? Where's the stamp?—that they would keep putting it off, and when they finally did sit down to write they would spend the entire first paragraph explaining why they hadn't written sooner. x INTRODUCTION In the second paragraph they would describe the weather in their part of the country—a subject of no interest anywhere else. Only in the third paragraph would they begin to relax and say what they wanted to say. Then along came e-mail and all the formalities went away. E-mail has no etiquette. It doesn't require stationery, or neatness, or proper spelling, or preliminary chitchat. E-mail writers are like people who stop a friend on the sidewalk and say, "Did you see the game last night?" WHAP! No amenities. They just start typ- ing at full speed. So here's the miracle: All those people who said they hate writing and can't write and don't want to write can write and do want to write. In fact, they can't be turned off. Never have so many Americans written so profusely and with so few inhibi- tions. Which means that it wasn't a cognitive problem after all. It was a cultural problem, rooted in that old bugaboo of American education: fear. Fear of writing gets planted in American schoolchildren at an early age, especially children of scientific or technical or mechan- ical bent. They are led to believe that writing is a special language owned by the English teacher, available only to the humanistic few who have "a gift for words." But writing isn't a skill that some people are born with and others aren't, like a gift for art or music. Writing is talking to someone else on paper. Anybody who can think clearly can write clearly, about any subject at all. That has always been the central premise of this book. On one level, therefore, the new fluency created by e-mail is terrific news. Any invention that eliminates the fear of writing is up there with air conditioning and the lightbulb. But, as always, there's a catch. Nobody told all the new e-mail writers that the essence of writing is rewriting. Just because they are writing with ease and enjoyment doesn't mean they are writing well. That condition was first revealed in the 1980s, when people began writing on word processors. Two opposite things hap- pened. The word processor made good writers better and bad INTRODUCTION xi writers worse. Good writers know that very few sentences come out right the first time, or even the third time or the fifth time. For them the word processor was a rare gift, enabling them to fuss endlessly with their sentences—cutting and revising and reshaping—without the drudgery of retyping. Bad writers became even more verbose because writing was suddenly so easy and their sentences looked so pretty on the screen. How could such beautiful sentences not be perfect? E-mail pushed that verbosity to a new extreme: chatter unlim- ited. Its a spontaneous medium, not conducive to slowing down or looking back. That makes it ideal for the never-ending upkeep of personal life: maintaining contact with far-flung children and grand- children and friends and long-lost classmates. If the writing is often garrulous or disorganized or not quite clear, no real harm is done. But e-mail is also where much of the world s business is now conducted. Millions of e-mail messages every day give people the information they need to do their job, and a badly written mes- sage can cause a lot of damage. Employers have begun to realize that they literally cannot afford to hire men and women who can't write sentences that are tight and logical and clear. The new information age, for all its high-tech gadgetry, is, finally, writing- based. E-mail, the Internet and the fax are all forms of writing, and writing is, finally, a craft, with its own set of tools, which are words. Like all tools, they have to be used right. On Writing Well is a craft book. That's what I set out to write 25 years ago—a book that would teach the craft of writing warmly and clearly—and its principles have never changed; they are as valid in the digital age as they were in the age of the typewriter. I don't mean that the book itself hasn't changed. I've revised and expanded it five times since 1976 to keep pace with new trends in the language and in society: a far greater interest in memoir- writing, for instance, and in writing about business and science and sports, and in nonfiction writing by women and by newcom- ers to the United States from other cultural traditions. xii INTRODUCTION I'm also not the same person I was 25 years ago. Books that teach, if they have a long life, should reflect who the writer has become at later stages of his own long life—what he has been doing and thinking about. On Writing Well and I have grown older and wiser together. In each of the five new editions the new material consisted of things I had learned since the previous edi- tion by continuing to wrestle with the craft as a writer. As a teacher, I've become far more preoccupied with the intangibles of the craft—the attitudes and values, like enjoyment and confi- dence and intention, that keep us going and produce our best work. But it wasn't until the sixth edition that I knew enough to write the two chapters (21 and 22) that deal at proper length with those attitudes and values. Ultimately, however, good writing rests on craft and always will. I don't know what still newer electronic marvels are waiting just around the corner to make writing twice as easy and twice as fast in the next 25 years. But I do know they won't make writing twice as good. That will still require plain old hard work—clear thinking—and the plain old tools of the English language. William Zinsser September 2001 P A R T I -esee- Principles csao The Transaction A school in Connecticut once held "a day devoted to the arts," and I was asked if I would come and talk about writing as a vocation. When I arrived I found that a second speaker had been invited—Dr. Brock (as I'll call him), a surgeon who had recently begun to write and had sold some stories to magazines. He was going to talk about writing as an avocation. That made us a panel, and we sat down to face a crowd of students and teachers and parents, all eager to learn the secrets of our glam- orous work. Dr. Brock was dressed in a bright red jacket, looking vaguely bohemian, as authors are supposed to look, and the first ques- tion went to him. What was it like to be a writer? He said it was tremendous fun. Coming home from an ardu- ous day at the hospital, he would go straight to his yellow pad and write his tensions away. The words just flowed. It was easy. I then said that writing wasn't easy and wasn't fun. It was hard and lonely, and the words seldom just flowed. Next Dr. Brock was asked if it was important to rewrite. 4 ON WRITING WELL Absolutely not, he said. "Let it all hang out," he told us, and whatever form the sentences take will reflect the writer at his most natural. I then said that rewriting is the essence of writing. I pointed out that professional writers rewrite their sentences over and over and then rewrite what they have rewritten. "What do you do on days when it isn't going well?" Dr. Brock was asked. He said he just stopped writing and put the work aside for a day when it would go better. I then said that the pro- fessional writer must establish a daily schedule and stick to it. I said that writing is a craft, not an art, and that the man who runs away from his craft because he lacks inspiration is fooling him- self. He is also going broke. "What if you're feeling depressed or unhappy?" a student asked. "Won't that affect your writing?" Probably it will, Dr. Brock replied. Go fishing. Take a walk. Probably it won't, I said. If your job is to write every day, you learn to do it like any other job. A student asked if we found it useful to circulate in the liter- ary world. Dr. Brock said he was greatly enjoying his new life as a man of letters, and he told several stories of being taken to lunch by his publisher and his agent at Manhattan restaurants where writers and editors gather. I said that professional writers are solitary drudges who seldom see other writers. "Do you put symbolism in your writing?" a student asked me. "Not if I can help it," I replied. I have an unbroken record of missing the deeper meaning in any story, play or movie, and as for dance and mime, I have never had any idea of what is being conveyed. "I love symbols!" Dr. Brock exclaimed, and he described with gusto the joys of weaving them through his work. So the morning went, and it was a revelation to all of us. At the end Dr. Brock told me he was enormously interested in my answers—it had never occurred to him that writing could be hard. I told him I was just as interested in his answers—it had The Transaction 5 never occurred to me that writing could be easy. Maybe I should take up surgery on the side. As for the students, anyone might think we left them bewil- dered. But in fact we gave them a broader glimpse of the writ- ing process than if only one of us had talked. For there isn't any "right" way to do such personal work. There are all kinds of writers and all kinds of methods, and any method that helps you to say what you want to say is the right method for you. Some people write by day, others by night. Some people need silence, others turn on the radio. Some write by hand, some by word processor, some by talking into a tape recorder. Some people write their first draft in one long burst and then revise; others can't write the second paragraph until they have fiddled end- lessly with the first. But all of them are vulnerable and all of them are tense. They are driven by a compulsion to put some part of themselves on paper, and yet they don't just write what comes naturally. They sit down to commit an act of literature, and the self who emerges on paper is far stiffer than the person who sat down to write. The problem is to find the real man or woman behind the tension. Ultimately the product that any writer has to sell is not the subject being written about, but who he or she is. I often find myself reading with interest about a topic I never thought would interest me—some scientific quest, perhaps. What holds me is the enthusiasm of the writer for his field. How was he drawn into it? What emotional baggage did he bring along? How did it change his life? It's not necessary to want to spend a year alone at Walden Pond to become involved with a writer who did. This is the personal transaction that's at the heart of good nonfiction writing. Out of it come two of the most important qualities that this book will go in search of: humanity and warmth. Good writing has an aliveness that keeps the reader reading from one paragraph to the next, and it's not a question 6 ON WRITING WELL of gimmicks to "personalize" the author. It s a question of using the English language in a way that will achieve the greatest clar- ity and strength. Can such principles be taught? Maybe not. But most of them can be learned. osso Simplicity Clutter is the disease of American writing. We are a society strangling in unnecessary words, circular constructions, pompous frills and meaningless jargon. Who can understand the clotted language of everyday Amer- ican commerce: the memo, the corporation report, the business letter, the notice from the bank explaining its latest "simplified" statement? What member of an insurance or medical plan can decipher the brochure explaining his costs and benefits? What father or mother can put together a child's toy from the instruc- tions on the box? Our national tendency is to inflate and thereby sound important. The airline pilot who announces that he is presently anticipating experiencing considerable precipitation wouldn't think of saying it may rain. The sentence is too sim- ple—there must be something wrong with it. But the secret of good writing is to strip every sentence to its cleanest components. Every word that serves no function, every long word that could be a short word, every adverb that carries the same meaning that's already in the verb, every passive con- 8 ON WRITING WELL struction that leaves the reader unsure of who is doing what— these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur in proportion to education and rank. During the 1960s the president of my university wrote a let- ter to mollify the alumni after a spell of campus unrest. "You are probably aware," he began, "that we have been experiencing very considerable potentially explosive expressions of dissatisfac- tion on issues only partially related." He meant that the students had been hassling them about different things. I was far more upset by the president s English than by the students' potentially explosive expressions of dissatisfaction. I would have preferred the presidential approach taken by Franklin D. Roosevelt when he tried to convert into English his own governments memos, such as this blackout order of 1942: Such preparations shall be made as will completely obscure all Federal buildings and non-Federal buildings occupied by the Federal government during an air raid for any period of time from visibility by reason of internal or external illumination. "Tell them," Roosevelt said, "that in buildings where they have to keep the work going to put something across the windows." Simplify, simplify. Thoreau said it, as we are so often reminded, and no American writer more consistently practiced what he preached. Open Walden to any page and you will find a man saying in a plain and orderly way what is on his mind: I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, dis- cover that I had not lived. Simplicity 9 How can the rest of us achieve such enviable freedom from clutter? The answer is to clear our heads of clutter. Clear think- ing becomes clear writing; one can't exist without the other. It's impossible for a muddy thinker to write good English. He may get away with it for a paragraph or two, but soon the reader will be lost, and there's no sin so grave, for the reader will not easily be lured back. Who is this elusive creature, the reader? The reader is some- one with an attention span of about 30 seconds—a person assailed by many forces competing for attention. At one time those forces were relatively few: newspapers, magazines, radio, spouse, chil- dren, pets. Today they also include a "home entertainment center" (television, VCR, tapes, CDs), e-mail, the Internet, the cellular phone, the fax machine, a fitness program, a pool, a lawn, and that most potent of competitors, sleep. The man or woman snoozing in a chair with a magazine or a book is a person who was being given too much unnecessary trouble by the writer. It won't do to say that the reader is too dumb or too lazy to keep pace with the train of thought. If the reader is lost, it's usu- ally because the writer hasn't been careful enough. That care- lessness can take any number of forms. Perhaps a sentence is so excessively cluttered that the reader, hacking through the ver- biage, simply doesn't know what it means. Perhaps a sentence has been so shoddily constructed that the reader could read it in several ways. Perhaps the writer has switched pronouns in mid- sentence, or has switched tenses, so the reader loses track of who is talking or when the action took place. Perhaps Sentence B i