Category: Advice to Writers

Literary Translators Beware

On By robstroudIn Advice to Writers, Books, C.S. Lewis, History, Latin, Literature, Modern Life, My Writing Projects, The Bible, The Future, Words, Writing13 Comments

Translating literature from one language to another is a valuable, yet often undervalued, skill. It breaks the linguistic shackles restricting the benefits of good books to those literate in the language in which they are composed.

You can think of it this way. Without the dedicated efforts of translators, someone familiar only with English – e.g. as is, sadly, the case with most Americans – could never read the works of ancient Greeks or Romans. Asian philosophy such as the Four Books and Five Classics of Confucianism would be virtually unknown in the West.

Even contemporary literature from most of the world would be beyond our access. And, obviously, God’s written Word would only be accessible to those who mastered Hebrew, Aramaic, and Greek.

While C.S. Lewis is seldom thought of as a translator, it was indeed one of his talents. That doesn’t mean he devoted serious energy to translation. That was not his vocation. On the contrary, in 1945 he wrote: “People praise me as a ‘translator,’ but what I want is to be the founder of a school of ‘translation.’” (I discussed this a number of years ago in “C.S. Lewis’ School of Translation.”)

Dedicated translators have played an invaluable role throughout recorded history. A number of people still make translation their life’s labor. Yet, there are dark clouds on their horizon.

Is there a Future for Translation by Human Beings?

A recent literary journal alerted me to advances in artificial intelligence, which now jeopardize the future of professional translators. 

Back in 2023, an article in Forbes compared the respective advantages and challenges of the two methods. They accurately identified one distinction between a truly fluent human and an artificial substitute.

Language is complex, and culturally specific expressions such as idioms and metaphors, as well as ambiguous or ungrammatical sentences and other context-dependent word choices, can be challenging for AI algorithms.

Unsurprisingly, that same year the American Translators Association offered a more critical opinion in “Machine Translation vs. Human Translation: Will Artificial Intelligence Replace the World’s Second Oldest Profession?”

We already mentioned that computers don’t possess our human capacity to comprehend meaning. The creative process, especially when it comes to translation, is the pinnacle of meaning. Human translators translate meaning, not words. The art of translation is understanding the meaning of the original text and then transforming it into something that communicates the same message (or evokes the intended emotion) but might not superficially look like an exact equivalent. . . .

But both now and then, professional translators are here to stay. Equipped with unique human skill and a toolbox full of tech, they’re ready to continue helping the world navigate the tricky business of multilingual communication – transporting messages appropriately, creatively, consistently, and securely to whatever audience you aim to reach. 

In short: machine translation can help when it doesn’t count, but professional human translation is there for you when it does.

Related to expressly literary translations, in contrast to mundane subject matter, the current issue of Poets & Writers contains a piece titled “AI Threatens Literary Translation.” When a European subsidiary of Simon & Schuster announced they would begin limited use of AI for this purpose,

Reactions rose in a flurry: Writers, publishers, and translators contended that AI would produce “bland” work. They lamented the possibility of lost jobs. The European Council of Literary Translators’ Associations resisted the standardization of an idiosyncratic process, stating that the imagination, understanding, and creativity that translation demands are “intrinsically human.”

This informative essay acknowledges that “AI isn’t new to translation either. Literary translators sometimes input segments of their source text into AI-based technologies . . . to generate ideas for particularly thorny passages. But these tools have to be used ‘very carefully . . . because the translations it produces are error-ridden and devoid of flow or beauty.’”

A Quick Experiment with AI Translation

Before completing this post I took a brief (less than ten minute) excursion to ChatGPT to experiment with their translation tool.

The results appear below (all produced in a mere handful of minutes). First I asked the AI to compose a sonnet on the subject of translation. Then I requested translations of that sonnet in five different languages. I have included the sonnet and the final two lines of each translation below.

You can perform a more elaborate experiment yourself, especially if you are familiar with more than one language. This would enable you to compare the accuracy of the translation. Or, perhaps one might take a translated version and translate that back into the original language, to see how closely it relates to the starting point.

In my experiment, the AI was constrained by needing to maintain the original’s form as a sonnet. I assume that if it were simply a literal translation, it may have modified the vocabulary and grammar. Each translation included footnotes. To illustrate how elaborate some of these notes were, I’ve reproduced those which appeared with the translation into Aramaic.

Frankly, if this is what these early AI prototypes are capable of, it appears to me that professional translators may truly have something to be worried about.

The Sonnet

In languages vast, where meanings hide and shift,
A translator’s art gives voice to what is known.
Through words, they bridge the gap, a timely gift,
To carry thought from one to others’ throne.

The rhythm, tone, and essence all must stay,
Though words may bend, they still must hold their grace.
A careful hand must guide the text’s relay,
To keep its heart while moving through time and space.

Yet oft the meaning’s lost in fleeting sound,
Or tangled in the strings of foreign speech.
But still they strive, where words and thoughts are bound,
To bring the message close, within our reach.

A translation’s not just words that blend –
It’s worlds revealed, with meaning without end.

~ Latin ~

Translatio non est solum verba iuncta –
Sed mundi patent, et mens non est puncta.

~ Old English ~

Nis anginn of wordum gemenged anum –
Ac worulda onwreah, and andgit ne swylt.

~ Classical Greek ~

Οὐ γάρ μόνον λέξεις αἱ μεταφράσεις,
ἀλλὰ κόσμοι φαίνονται, ἄνοια οὐδέποτε.

~ Middle Egyptian ~

𓏏𓂋 𓅓𓏏 𓊪 𓏏𓏤 𓆑𓏏 𓊵𓏤,
t r mt ḏbꜥ t ft ḏbꜥ
(“A translation’s not just words that blend –”)

𓂋 𓅓𓏏 𓆑𓏏 𓊵𓏤 𓏏𓏏𓀀.
r mt ft ḏbꜥ t t
(“It’s worlds revealed, with meaning without end.”)

~ Classical Aramaic ~

ܬܪܓܡܐ ܠܐ ܗܘܐ ܒܠܚܘܕ ܡܠܐ ܕܡܬܚܠܛܢ,
ܐܠܐ ܥܠܡܐ ܡܬܓܠܝܢ، ܘܡܕܡ ܠܐ ܚܒܠ.

Notes on the Translation:
1. Classical Aramaic Grammar & Style: The sentence structure follows Classical Aramaic syntax as used in ancient texts. Some phrases had to be adapted poetically since direct translations of modern concepts do not always exist.
2. Vocabulary Adjustments: “Translator” = ܡܬܪܓܡܢܐ (metargemana), a direct and historically accurate term. “Translation” is expressed as ܗܫܬܘܪܬܐ (hishtorta), meaning “interpretation, explanation.” “Essence” is translated as ܡܗܘܬܐ (mehutā), meaning “nature, essence.” “To bridge the gap” = ܡܫܬܪܝܢ ܓܦܐ (meshatrin gapé), literally meaning “to stretch wings” (a poetic expression).
3. Preserving the Poetic Flow: The rhythm and parallel structure of the original sonnet were carefully kept. Adjustments were made for metrical and phonetic balance in Aramaic.
4. This version captures the spiritual and poetic depth of the original while remaining faithful to the Classical Aramaic linguistic style.
5. Would you like an audio recording or a version in Syriac script for authenticity? Let me know how you’d like to refine it!

And all of this in ten minutes. Unfathomable . . .

C.S. Lewis, J.R.R. Tolkien & Naomi Mitchison

On By robstroudIn Advice to Writers, Books, C.S. Lewis, Christian Life, Christianity, Classics Worth Revisiting, Great Authors, History, J.R.R. Tolkien, Literature, Marriage, Modern Life, Narnia, Publishing, Reading, Roman History, Writing2 Comments

Have your feelings about particular authors changed over time? C.S. Lewis’ attitude toward the work of prolific novelist Naomi Mitchison illustrates this type of progression.

Mitchison’s work possesses a direct link to another Oxford Inkling – J.R.R. Tolkien – whose Fellowship of the Ring she read in proof and favorably reviewed. Brenton Dickieson provides a priceless letter written by Tolkien to Mitchison in 1954.

Naomi Mary Margaret Mitchison was a Scottish novelist who lived more than a century (1897 – 1999). She penned more than ninety books, primarily historical fiction, and including science fiction.

With the outbreak of the First World War, Mitchison joined a Voluntary Air Detachment in a London hospital. (Other familiar women who served in a VAD included Agatha Christie and Amelia Earhart.)

Politically she identified as a Socialist. She was sufficiently leftist that George Orwell regarded her as unsuited for writing anti-Soviet materials for the United Kingdom during the Cold War.

Mitchison’s brother, J.B.S. Haldane, did not equivocate on his radical views, announcing his position as a Marxist. He was a scientist and his atheism brought him into serious disagreement with the Christian views of C.S. Lewis. (I will devote my next post to that interaction.)

Coincidentally, artist Pauline Baynes (who also worked with C.S. Lewis and J.R.R. Tolkien), provided the illustrations for at least one of Mitchison’s children’s books, Graeme and the Dragon. This quick review offers a concise synopsis and discussion of “the charming illustrations [which] go a long way toward making this a fun read.”

An additional coincidence: the same year Lewis published The Lion, the Witch and the Wardrobe, Mitchison also published a fantasy novel for children. The Big House involves time travel and some occultic themes associated with Halloween, etc.

For a thorough synopsis of The Big House and comparison to Lewis’ Chronicles of Narnia, check out this essay from the University of Glasgow. (That reviewer’s preference is clearly for Mitchison’s more complex approach with its themes related to class struggle.)

C.S. Lewis’ Perspective on Naomi Mitchison

I cannot locate any mention of C.S. Lewis by Mitchison, but he did mention her in passing in several pieces of correspondence. In essence, he praised her skill, but was put off by her graphic use of violent imagery.

In a 1932 letter to Arthur Greeves, he writes:

I thought we had talked about Naomi Mitchison before. I have only read one (Black Sparta) and I certainly agree that it ‘holds’ one: indeed I don’t know any historical fiction that is so astonishingly vivid and, on the whole, so true.

I also thought it astonishing how, despite the grimness, she got such an air of beauty–almost dazzling beauty–into it. As to the cruelties, I think her obvious relish is morally wicked, but hardly an artistic fault for she could hardly get some of her effects without it.

But it is, in Black Sparta, a historical falsehood: not that the things she describes did not probably happen in Greece, but that they were not typical–the Greeks being, no doubt, cruel by modern standards, but, by the standards of that age, extremely humane.

She gives you the impression that the cruelty was essentially Greek, whereas it was precisely the opposite. That is, she is unfair as I should be unfair if I wrote a book about some man whose chief characteristic was that he was the tallest of the pigmies, and kept on reminding the reader that he was very short. I should be telling the truth (for of course he would be short by our standards) but missing the real point about the man–viz: that he was, by the standards of his own race, a giant. 

Still, she is a wonderful writer and I fully intend to read more of her when I have a chance.

C.S. Lewis echoed his concern in a 1942 letter to another of his regular correspondents, Sister Penelope. “I gave up Naomi Mitchison some time ago because of her dwelling on scenes of cruelty. But I recognise real imagination and a sort of beauty in the writing.”

In 1951, C.S. Lewis congratulated author Idrisyn Oliver Evans (1894–1977) on the publication of The Coming of a King; A Story of the Stone Age. Ironically, speculative fiction set in this ancient era, referred to as “Prehistoric SF,” was also the setting of works such as H.G. Wells’ Story of the Stone Age series, which you can read here. Naomi Mitchison also dabbled in the prehistoric field. Lewis wrote to Evans: 

I congratulate you. And I think it is a great thing to put that idea of the Stone Age – which is at least as likely to be the true one – into boys’ heads instead of Well’s or Naomi Mitchison’s. It’s all good. The marriage customs are amusing . . . I hope it will be a great success. 

In 1959, C.S. Lewis provided some wise counsel to a young, aspiring author. The American student was contemplating a volume about the Roman subjugation of Gaul, which Lewis encouraged.

A story about Caesar in Gaul sounds very promising. Have you read Naomi Mitchison’s The Conquered? And if not, I wonder should you? It might be too strong an influence if you did (at any rate until your own book is nearly finished). On the other hand, you may need to read it in order to avoid being at any point too like it without knowing you are doing so.

I don’t know what one should read on Gaul. Apart from archaeological finds (Torques and all that) I suppose Caesar himself is our chief evidence? He will be great fun and I hope you will enjoy yourself thoroughly.

Which side will you be on? I’m all for the Gauls myself and I hate all conquerors. But I never knew a woman who was not all for Caesar – just as they were in his life-time.

C.S. Lewis’ most significant mention of Naomi Mitchison occurs in his brief 1943 essay, “Equality.”

It delivers a brilliant discussion of the subject, one that merits full reading. He commends one of Mitchison’s insights into inequality – although, ironically, she relates it to eroticism.* (You must read it in full context to understand how it supports his independent argument.)

This last point needs a little plain speaking. Men have so horribly abused their power over women in the past that to wives, of all people, equality is in danger of appearing as an ideal. But Mrs. Naomi Mitchison has laid her finger on the real point. Have as much equality as you please – the more the better – in our marriage laws, but at some level consent to inequality, nay, delight in inequality, is an erotic necessity.

Mrs. Mitchison [in The Home and a Changing Civilization] speaks of women so fostered on a defiant idea of equality that the mere sensation of the male embrace rouses an undercurrent of resentment. Marriages are thus shipwrecked.

A final reference to Mitchison brings us back around to my early note that she reviewed Fellowship of the Ring. C.S. Lewis refers to her review in his own, suggesting that she has not gone quite far enough in her praise.

Nothing quite like it was ever done before. ‘One takes it,’ says Naomi Mitchison, ‘as seriously as Malory.’ But then the ineluctable sense of reality which we feel in the Morte d’Arthur comes largely from the great weight of other men’s work built up century by century, which has gone into it.

The utterly new achievement of Professor Tolkien is that he carries a comparable sense of reality unaided. Probably no book yet written in the world is quite such a radical instance of what its author has elsewhere called ‘sub-creation.’

Sadly, Naomi Mitchison was less enamored with the subsequent volumes in The Lord of the Rings . . . but this post has already condensed more than enough information.

* An article in Michigan Feminist Studies notes how Naomi Mitchison’s recurrent references to sexual themes distracted from broader matters throughout her literary career.

Despite Mitichison’s attempts to move the discussion of her body of work from the salacious, it is the frank and open inclusion of sexuality that continues to intrigue her critics and reviewers. Racy, heated passages of Mitchison’s historical novels inspired comment from poet W.H. Auden in the 1930s (“Monstrous Sex: The Erotic in Naomi Mitchison’s Science Fiction”).

The essay’s thesis is what one might expect in a journal devoted to contemporary feminism.

I intend to demonstrate that the ribald sexuality of Mitchison’s work registers as more than merely provocative. Sexual encounters between female characters and aliens, as well as those between women, threaten an imperialising capitalism that dictates who may be loved in a gendered, racialised order.

Must Writing be a Solitary Endeavor?

On By robstroudIn Advice to Writers, C.S. Lewis, C.S. Lewis & the Inklings, J.R.R. Tolkien, Middle Earth, Modern Life, My Writing Projects, Reading, The Future, Writing10 Comments

It’s often said that “writing is a solitary task.” I find that’s only half true.

Sure, each individual is responsible for putting the words on the page (AI-cheats aside), but sharing your work with others before publishing it provides amazing dividends.

Not only can “other eyes” see flaws we are too close to the piece to recognize, good critiques often include suggestions to make our writing stronger.

I’ve occasionally described the benefits I’ve received from being a member of writers [critique] groups around the globe. I titled one of my posts “Be an Inkling,” because this mutual sharing was central to those brilliant minds who gathered together in Oxford.

In 1967, J.R.R. Tolkien described his reason for using that particular word in just such settings. He said he used the word Inkling as “a ‘jest,’ because it was a pleasantly ingenious pun in its way, suggesting people with vague or half-formed intimations and ideas plus those who dabble in ink.”

I too find it “pleasantly ingenious” and have echoed it here in my own domain. 

Conferences can be helpful too, but my experience is that nothing surpasses the encouragement that emanates from the mutual commitment shared by writers who physically gather to share their creations.

I noted above two concrete ways writing friends can contribute to strengthening our work. However, this third element – encouragement – cannot be underestimated. It was precisely this element that brought that masterpiece, The Lord of the Rings, to the world’s attention.

A Pilgrim in Narnia provides a superb account of C.S. Lewis’ essential role in boosting the confidence of his friend J.R.R. Tolkien. He cites a letter in which Tolkien describes how Lewis’ most precious gift was in challenging him to complete his opus.

The unpayable debt that I owe to him was not ‘influence’ as it is ordinarily understood, but sheer encouragement. He was for long my only audience. Only from him did I ever get the idea that my ‘stuff’ could be more than a private hobby. But for his interest and unceasing eagerness for more I should never have brought The L. of the R. to a conclusion.

Melancholy Transitions

Critique groups are weighing on my mind, since the one I’ve been part of for many years has come to its end. The passing of various members during the past decade left too few of us to continue, and we few who were left are mourning the fact that it was not sensible to continue meeting regularly.

It is another reminder of Solomon’s wisdom when he wrote, “For everything there is a season, and a time for every matter under heaven.”

Sadly, I lack the energy to help establish another new writing fellowship at this point in my life. Perhaps I will join one of the online communities. Christian Writers looks promising.

I actually participated in an online critique community back when primitive “bulletin board systems” were giving way to the nascent internet. No doubt the modern equivalent would be far better in every way.

In the meantime, I do have a few readers I trust to review my work before submitting it to an editor. One is my very talented wife. The problem there, however, is that her love (and compassionate nature) make her too gentle when she critiques my work. 

This drawback is one side of the coin to which author Dan Brown refers when he says: “I learned early on not to listen to either critique – the people who love you or the people who don’t like you.”

This does not mean, of course, that those who love us are unsuitable candidates. It simply suggests that we need to (often repeatedly) give them permission to offer genuinely critical comments, especially when they are accompanied by suggestions for how we might improve a given passage.

In essence although people like William Faulkner are correct in stating that “writing is a solitary job,” most of us can benefit from sharing our drafts with others. 

And fortunate are those of us who discover such friendship, where our writing companions are like-minded, trustworthy, self-confident, and honest. (I personally find having a sense of humor an essential trait, as well.)

In a word, we are greatly blessed to personally become part of our own fellowship of Inklings.

Fiction or Nonfiction: Which is Best?

On By robstroudIn Advice to Writers, C.S. Lewis, C.S. Lewis & the Inklings, Christian Life, J.R.R. Tolkien, Words, Writing12 Comments

Which is better for a person to write, fiction or nonfiction? That, of course, is an absurd question on its face. Every one recognizes nonfiction is best. (Just joking.)

Few of us are talented in the manner of C.S. Lewis — who excelled in both genres. Typically we have a knack for one or the other.

Which is best, becomes a question with a quite personal answer. And that response is determined by a number of interrelated elements. In which form are we more adept? Which do we prefer to read? For which are there greater avenues to experience publication? Through which do we receive more reward, extrinsic or intrinsic? 

Christian writers consider another, hopefully overriding, factor. What type of writing does the Lord desire us to pursue? And, it should be noted that just like the daily Christian walk, this is a dynamic matter. It can change at any given moment, depending upon how the Holy Spirit leads. Once again, C.S. Lewis offers an ideal example of this truth. God may lead us to write something factual one afternoon, imaginative the next, and perhaps poetry on the succeeding morning. 

What about the Prestige Factor?

There is a subtle prejudice among writers, I fear. While it’s natural to think that the genre most challenging to one may require additional skill or discipline, it seems to me most writers tacitly accept the notion that fiction requires more talent. 

While I personally disagree with that assessment, I understand it. After all, “facts” are readily available, and don’t rely on one’s imagination to devise. Still, good nonfiction is not inherently simpler to produce than quality fiction. (I mean, AI is proving every day that mediocrity can be reached in either genre in mere seconds.) 

As an example of this subtle prejudice, see this (quite helpful) article by promising young historical fictionist Cheyenne van Langevelde.

In an insightful article entitled “Genre ~ What Christian Writers Should be Aware of,” she introduces the subject with the following observation: 

As someone who hasn’t written nonfiction, I will not be discussing that branch of literature — though I’m sure it’s obvious how one could glorify God in their nonfiction writing. What I am going to talk about is the more challenging of the two branches: fiction.

I graduated from the University of Washington with an Editorial Journalism degree. While some argue Communication degrees are “worthless,” they may “set you up for life.” (That has certainly been my experience.)

Still, journalism doesn’t have the panache of “creative writing.” This, I suspect, is one reason that Master of Fine Arts (MFA) degrees exploded on the scene several decades ago.

When I open each issue of Poets & Writers, I’m overwhelmed by the number of ads for MFA programs, all over the globe. However, the October issue features a melancholy article titled “More MFA Programs Closing.” This is “despite all the value and prestige they bring to the university . . .”

The article cites “monetary pressures on universities and waning interest in the humanities” as major problems. Obvious to any non-MFA observer, the unbridled proliferation of MFA programs themselves might be the primary cause. 

Combine with that the evidence that a younger generation is more concerned about their prospects of making a living, and one might anticipate a further winnowing of such programs. 

For a balanced discussion of the subject, I commend “The MFA Degree: A Bad Decision?” — written by a writer who earned one, and subsequently “taught undergraduate and graduate courses in creative writing.”

I don’t believe MFA programs are inherently evil and have destroyed contemporary American literature. The majority of people teaching and taking creative writing classes are all trying to do good things. Nonetheless, I’ve begun to wonder if the MFA is, in fact, a bad decision.

It’s an interesting discussion, of value especially to those contemplating an MFA path. I leave that choice to the individual — as I leave to them the decision regarding whether to write fiction or nonfiction . . . or poetry, convincing historical fiction, satire, etc.

In order to expand their pool of prospective students, some MFA programs added “creative nonfiction” to their offerings. The focus of this genre is on training participants to consciously implement literary styles and techniques in order to make their factually accurate narratives more engaging.

While there is no doubt consciously taking these tools into consideration can improve the quality of many nonfiction works, it seems a bit exaggerated to label it “creative.” I would simply describe it as “good” or “well written” nonfiction. 

For a description of how creative nonfiction can be implemented in memoirs and essays, you might enjoy an introduction to the subject from Writers.com. You may wish to follow that up with “The Five R’s of Creative Nonfiction.” (Mere Inkling applies at least four of them.)

C.S. Lewis offered an aspiring young writer some wonderful advice in 1959. “Write about what really interests you,” he suggested, “whether it is real things or imaginary things, and nothing else.” He added the parenthetical note that “if you are interested only in writing you will never be a writer, because you will have nothing to write about . . .”

Excellent advice for the young wordsmith. I would add that for the maturing scribe it is often productive (and even fun) to experiment with a variety of genres.

Who knows? Perhaps you will follow the Inkling tradition established by C.S. Lewis and J.R.R. Tolkien, being exceptional in fiction and nonfiction alike. Best of luck to those of you who embark on this journey!

Damnable Typos & the Bible

On By robstroudIn Advice to Writers, C.S. Lewis, Church History, Great Authors, Literature, Publishing, The Bible, Theological Matters10 Comments

While the title of this post will be shocking to some, it’s far less scandalous than the typographical error discussed below. Due to two misprints appearing in a 1641 edition of the King James Bible (KJV), the publication has been labeled the “Wicked Bible.”

Translating the Scriptures is a necessary, and demanding, task. The early editions of the KJV (which was preceded by the Wycliffe Bible) reveal how vulnerable the words themselves were to being altered during the typesetting process.

I’ve written about this subject a number of times during the past decade, and even devoted a column to “C.S. Lewis’ School of Translation,” which is about something even more important than merely translating words. There I quote one of the great author’s deepest hopes.

What I want is to be the founder of a school of ‘translation . . .’ Where are my successors? (correspondence, 7 October 1945).

Returning to the seventeenth century book with its unfortunate errors, we witness an example of how even a solid translation can be derailed by careless (or malevolent) typesetters.

The magnitude of the mistake discovered in this particular edition caused its suppression, and most copies were destroyed. While some still exist in private hands, only fifteen remain in public collections. One of these made its way to New Zealand before being identified in 2018.

A Truly Scandalous Misprint

It would be one thing if a printer accidently dropped the final “e” from “breathe,” leaving the word “breath.” Even substituting an errant “w” for the “b,” would create an alternate word that would greatly muddle a passage . . . but still not appear remotely “wicked.” 

However, a 1631 mistake in an English Bible literally turned a passage – one of the Ten Commandments, no less – on its head. Rather than reading “Thou shalt not commit adultery,” this edition declares, “Thou shalt commit adultery” (Exodus 20:14).

The consequences of this disaster were significant, particularly for His Majesty’s official printers. In Cyprianus Anglicanus by royalist priest Peter Heylyn (1599-1662), we learn the details. (You can download a free facsimile of the volume which includes many other fascinating facts.) The passage related to the misbegotten tome reads as follows:

His Majesties Printers, at or about this time [1632], had committed a scandalous mistake in our English Bibles, by leaving out the word Not in the Seventh Commandment.

His Majesty being made acquainted with it by the Bishop of London, Order was given for calling the Printers into the High-Commission where upon the Evidence of the Fact, the whole Impression was called in, and the Printers deeply fined, as they justly merited.

Reports of Cases in the Courts of Star Chamber and High Commission, penned by Samuel Rawson Gardiner in 1886, includes a detailed account of the court’s findings. (Due to their uniqueness, I have transposed the full account, as found in two sections, as a footnote below.) One passage describes a second “gross error.”

. . . showed the two grossest errors, vizt. “Shalt commit adultery” and “great asse:” for “shalt not commit adultery” and “greatnesse…”

The second of these blunders occurs in Deuteronomy 5:24, which properly reads “Behold, the Lord our God hath shewed us his glory and his greatness.” (It should be noted that the word asse would most commonly be associated with donkeys.)

The magnitude of these mistakes can only be understood when one recognizes how reverentially the Scriptures were regarded at this time. C.S. Lewis would suggest that during an age when the Bible has been relegated to historic literature, it is difficult for us to comprehend the seriousness of this matter.

It is very generally implied that those who have rejected its theological pretensions nevertheless continue to enjoy it as a treasure house of English prose. It may be so. There may be people who, not having been forced upon familiarity with it by believing parents, have yet been drawn to it by its literary charms and remained as constant readers.

But I never happen to meet them. Perhaps it is because I live in the provinces. But I cannot help suspecting, if I may make an Irish bull, that those who read the Bible as literature do not read the Bible. (“The Literary Impact of the Authorised Version”).

In “Challenges in Printing Early English Bibles,” you can read about other Bibles featuring noteworthy mistakes. In two, “peacemakers” become “placemakers,” and “murmurers” are transformed into “murderers.” Another example, in the very first edition of the KJV, finds Jesus’ ancestor Ruth referred to by the male pronoun, due to the accidental dropping of an “s.”

More troubling is another early KJV Bible where “the text of Psalm 14 [reads], “The fool hath said in his heart there is a God,” rather than “The fool hath said in his heart there is no God.”

Worst of all, in terms of blasphemous connotations, would likely be the so-called “Judas Bible.”

In the 1609 Geneva Bible, the typesetters mistakenly replaced Jesus’s name with that of Judas. John 6:67 reads: “From that time many of his disciples went back, and walked no more with him. Then said Judas unto the twelve, Will ye also go away?”

Fortunately, modern editions of the Jewish and Christian Scriptures undergo thorough proofreading, so this sort of error is rare today. Still, typos will persist as long as the remotest possibility of error exists.

Those among us who have sought to have our writing published by traditional publishers may relate to the example with which we end. C.S. Lewis and J.R.R. Tolkien and even Mark Twain faced challenges working with some of their editors and publishers.

With all of the printing mishaps in the early English Bible, it is only appropriate that one of the editions was called “The Printers Bible.”

This text, published in about 1702, takes its name from a typesetting error found in Psalm 119, which should have read “Princes have per­secuted me without a cause” but was mistakenly printed as “Printers have persecuted me.”

Full references from Reports of Cases in the Courts of Star Chamber and High Commission by Samuel Rawson Gardiner (1886).

Mr Barker the printer. There is a cause begunne against him for false printeing of the Bible in divers places of it, in the Edition of 1631, vizt., in the 20 of Exod[us], “Thou shalt committ adultery”; and in the fifte of Deut[eronomy] “The Lord has shewed his glory, and his great asse”; and for divers other faults; and that they had printed it in very bad paper. And the Bishop of London showed that this would undoe the trade, and was a most dishonorable thing; that they of the church of Rome are soe carefull, that not a word or letter is to be found amisse in their Ladie’s Psalter and other superstitious books; and that we should not be soe carefull in printinge the sacred Scriptures; and that they in Holland, at Amsterdam, had gott up an English presse, and had printed the Bible in better paper, and with a better letter, and can undersell us 18d. in a Bible. Mr Barker and his partners endeavored in partt to excuse themselves, and had advocates to speake for them, and were willing to submitt, and promised to amend their faults; but the Court would not remitt their offense, but the cause was ordered to goe on.

The Printers having answered move the Court to passe by their oversight being the fault of the workmen but the King’s Advocate desired they might make their defense legally and the cause to go onto hearing: and that he might have liberty to put in additional articles against them. The Bishop of London would have the Church sett upright in her reputacion, that we are as carefull in printeing the Bible as they are of their Jesus’ psalter : and whereas the Printers say this is stirred up by the malice of one man against them; The Bishop saith he stirred not till the Bible was sould into his house, bought by his footman: and he saith the printinge is soe bbad and the paper too that, if it be not mended shortlie, they wilbe put downe by those of Amsterdam and their trade spoyled, and showed for the two grossest errors, vizt. “Shalt commit adultery” and “great asse:” for “shalt not commit adultery” and “greatnesse…” The Arch Bishop of Canterbury saith, that the Printers that print for his Matie have a very profitable place, and therefore should be more carefull. I knew the tyme when greater care was had about printeing, the Bibles especiallie, good compositors and the best correctors were gotten being grave and learned men, and the paper and letter rare and faire every way of the best; but now the paper is naught, the composers boyes, and the correctors unlearned: There is a farmer and he makes the benefit, and careth for nothing about it. They heretofore spent their whole time in printeing, but these looke to gaine, gaine, gaine, then they are not to be commended: Well, let them looke to it: and let the cause proceed, saith the ArchBishop. London. “There was a great deale of doo between you of this Citty and those of Cambridge heretofore about the priviledge of printeing the Bible and psalms which they of Cambridge claymed; then the Bible was exactlie printed, now you have forced the Cambridg printer to an agreement, now noe bible is right printed.

[It appears this volume itself would have benefited from having more diligent “correctors.” Perhaps most curiously, two spellings of the word printing – “printinge” and “printeing” – appear in this publication.]

Brilliant New Course on C.S. Lewis

On By robstroudIn Advice to Writers, C.S. Lewis, Education, Literature, Narnia, Writing7 Comments

Fans of C.S. Lewis who would relish a month-long journey through his work must consider a brand new course designed by Dr. Brenton Dickieson of Signum University. 

Ink Spots and Tea Stains offers the very best of combinations: “academically serious but . . .  focused purely on the love of learning and the joy of studying the material.”

And what an amazing subject you will explore – a unique view of C.S. Lewis’ archival treasures (many still unpublished), in the context of his more familiar works. And there is no need to feel intimidated. According to Signum, 

No specific knowledge or background is necessary, though it is recommended that students have a general knowledge of Lewis’s writings.

Writers should be especially intrigued by the course which will discuss the literary imagination and the shape of personal discipline in the writing process.

I enthusiastically commend Ink Spots and Tea Stains to you. I also encourage you to share this news with your friends who are fans of C.S. Lewis’ work.

In fact, you might also wish to pass the invitation on to all of the writers you know who would enjoy an inspired exploration into the writing processes of one of the most respected authors of the twentieth century.

All of our lives are busy, but consider giving yourself this uplifting gift this autumn. If you do, I’m confident you’ll not regret it.

C.S. Lewis, Stereotypes & Polarization

On By robstroudIn Advice to Readers, Advice to Writers, C.S. Lewis, C.S. Lewis & the Inklings, Cartoons with a Message, Military History, Modern Life, Writing11 Comments

Do you think in terms of stereotypes? Be careful before answering, since nary an adult is free of them. (Case in point, you may well have preconceptions or prejudices about a writer who would use the word “nary” in an opening sentence.)

Stereotyping is common, despite the fact most of us would disavow its use. Most of us would agree with C.S. Lewis who described how stereotypes bar us from embracing new knowledge. In his inaugural lecture on the faculty of Cambridge University, he cautioned that “a stereotyped image can obliterate a man’s own experience” (“De Desciptione Temporum”).

Oddly, while most of us would intuit that thinking stereotypically is a pattern for “the less intelligent,” it appears the reverse is true. According to one study,

Superior cognitive abilities are often associated with positive outcomes, such as academic achievement and social mobility . . . However, our work shows that some cognitive abilities can have negative consequences – specifically, that people who are adept at detecting patterns are especially quick to learn and apply social stereotypes.

Fortunately, although “people with better pattern detection abilities are at greater risk of picking up on and applying stereotypes about social groups,” there is still hope for those “afflicted” with cognitive skill. Fortunately, “these individuals are better able to diminish their stereotyping when presented with new patterns that challenge existing stereotypical associations.”

Another study argues that “our brains want our expectations to be supported . . . Because of that reward engagement, we can start becoming addicted, in a way, to stereotyping.” The researchers offer this suggestion for combatting the addiction: “simply understanding that this happens is an important way to check those assumptions and not let them influence your judgment.”

Generalizing by way of stereotypes can indeed be addictive, if its endemic presence in western culture is any indication. In America, for example, if there is ever a season when nasty stereotypes run unbridled, it is during political campaigns. Especially during presidential elections, where a person of faith would hope to witness the greatest amount of compassion and earnest intercession for God’s guidance.

Stereotypes give way to even uglier projections when we come to despise others. Several years ago I wrote an article about how wartime propaganda often strives to portray a nation’s enemies as evil, and unworthy of treatment in a humane way. It is titled “Demonizing Our Enemies & Dehumanizing Ourselves.”

When nations war, it is in the interests of the leaders of the opposing causes to engage their people in that effort heart, mind and (if possible) soul. A soldier who cognitively recognizes the need for fighting, but does not  possess a visceral animus for the foe, will only be a half-hearted warrior.

On the other hand, if rulers can generate a mental and emotional disgust, or even hatred, for the enemy, they have a winning formula. Soldiers who not only understand their cause, but also desire the utter destruction of their opponent, are single-minded in their purpose. Such fighters win wars.

You can see this sort of us/them polarization during peacetime too, even in non-election years. Sadly, it seems to be manifesting more and more frequently. And, surprisingly, it appears to have become just as common within national populations, as in international contexts. The results can be catastrophic, which is why First Lady Eleanor Roosevelt pled: 

Pit race against race, religion against religion, prejudice against prejudice. Divide and conquer! We must not let that happen here.

Stereotyping the Inklings

Although none of the Inklings have been spared, I believe C.S. Lewis has been the subject of the worst stereotyping. (I have an educated suspicion why that is true.)

Diana Pavlac Glyer has an excellent article which addresses this injustice head on.

There’s a rumor going around that C. S. Lewis was an irritable introvert, isolated and lonely and scared to death of girls. Maybe it all comes from some grim stereotype of smart people or college professors or, maybe, published writers.

That whole image is completely wrong. Lewis wasn’t an introvert. Or a loner. No – he was a large man with a booming voice, a hearty laugh, a robust enjoyment of everyday life. And that is why he was a man with friends.

At A Pilgrim in Narnia, Brenton Dickieson dispels another common misperception of the great author – that he was narrow-minded. 

So much of C.S. Lewis’ uniqueness comes down to his sheer love of diversity. He loved variability, colour, the exchange, the alienation of encounter and unity with others. His weird dystopia That Hideous Strength was, in many ways, a protest against the tendency of totalitarianism to create monoculture by erasing the individual. . . .

Lewis loved difference and diversity and freedom of expression–doctrines in danger in today’s culture war. It doesn’t take long within any of today’s major social movements to find out that diversity is fine and great as long as everyone acts like us or looks like us or thinks like us or uses the same secret words we use.

Most readers of Mere Inkling would be exceptions to the rule that human beings (especially those with “superior cognitive abilities”) default to stereotyping. Most of you, I sincerely believe, share my appreciation for respectful conversation and debate with others who do not share my opinions. 

Such interaction – with unique individuals, and not cardboard caricatures – often result in my own growth. And I dare to hope that those with whom I dialog might also feel the same.

Blackout Writing

On By robstroudIn Advice to Writers, C.S. Lewis, G.K. Chesterton, Literature, My Writing Projects, Narnia, Poetry, Words, Writing4 Comments

Do you have trouble coming up with ideas for your poems or stories? How about starting with an interesting collection of words and winnowing them down to a creation of your own? Read on to learn more about a simple process.

A few years ago a fellow pastor told me he could write, even short articles like blog posts. Since he had successfully completed a challenging graduate program, I was a bit shocked at this disclosure. “The problem,” he said, “is that I just can’t come up with any ideas for what to write.”

I had two reactions. First, I was amazed, since I can’t get through a day without encountering at least a handful of observations that beg to be explored. Second, I wondered just what sort of sermons his congregation was exposed to, if creative imagery and fresh ways of expressing God’s timeless truths were not coming from their pulpit.

One of the ways I attempt to improve my own writing is by stretching. In my personal shorthand, this refers to engaging in new forms of writing. Principally that means voluntarily jumping into sometimes ominous literary waters. I stretch myself by humbly engaging in genres which I may, in all honesty, find intimidating.

For example, occasionally, when bored with outlining books that may never get written, I’ll just scribble out some “impromptu verse.” Some of it turns out rather decent. (You’ll notice I didn’t say “excellent.”)

Blacking Out Words to Compose New Literature

I had heard of Blackout Poetry before, but never attempted to “write” any. Actually, it seems to me that “decompose” might be a more accurate word for this type of creating. Although most commonly used to create brief works, such as poetry, the concept can be used for narratives as well.

If you are unfamiliar with the process, you may enjoy the following, introductory articles.

“Teach Kids Art” explains the basic process and then adds some visual artistry to the mix.

Blackout Poetry is a form of “found poetry” where you select words that catch your interest from a newspaper, book, or other printed text – along with a few additional words to make it flow. Then you “redact” all the words you don’t want. This is often (but not always) done with a black marker, hence the name “blackout poetry.” Your chosen words will form a new message, giving the text a whole new meaning.

Take your Blackout Poetry a step further by adding patterns, designs, or a drawing to the areas you’re “redacting.” For example, instead of just filling in around your chosen words with solid black, you could create a drawing or design that relates to your poem. Just as with any illustration, your art should support the remaining text and add to its meaning.

“Looking Beyond the Comfort Zone” discusses a reservation many will have about pursuing blackout writing.

I really wanted to give it a try. There were however a few obstacles to overcome. First was my ingrained prohibition of defacing books. Although I owned a highlighter in college I rarely used it. It seemed wrong. . . .

Secondly the blackout poetry requires making the page unreadable for the original words. I felt a lot of good old-fashioned guilt in the prospect of destroying someone’s story. Lastly, I didn’t have any books that I felt so little regard for that I could take a sharpie marker to the pages.

I, personally, have eliminated the second reservation by scanning an image of each experimental page and blacking words out digitally. It would be just as simple to print out such an image, or simply use a copier with a physical book, if you prefer to create your work manually. My method eliminates another potential problem for bibliophiles, the damage often caused to a book’s spine when attempting to flatten the page for copying.

“5 Tips for Creating Blackout Poetry” claims the genre is “the best cure for writer’s block.” To enhance miscellany, they suggest “when picking an article to use, it’s best not to read it too closely.”

That way, you aren’t overly influenced by the author’s original work and you can create something uniquely your own.

This suggestion will certainly be beneficial in liberating the creativity of many writers. For my own purposes, I disregarded this advice, since I intentionally desired to use words by or about particular authors. I honestly want the original context to be in my mind during the metamorphosis.

A final source, “A blackout poem on the Trinity,” reveals how a writer in Europe found inspiration in the writings of C.S. Lewis for her own poem about the Trinity. Check out Christine’s verse at the link above.

This is the first time I’ve tried a blackout poem. They work by taking a page of text and then blacking it out until only the remaining words give you the poem.

In the end, I chose “It all began with a picture . . .” published in the Junior Section of The Radio Times on 15 July 1960. It’s a short and sweet description of how Lewis was inspired to write the Narnia stories.

My Initial Attempts

As I mentioned above, I scanned printed pages that you can easily find at Internet Archives, Google Books, Project Gutenberg and various other sites.

I did not attempt to write poetry. Rather, I used each page to write a brief, new narrative. Of my first three efforts, I was most pleased with “Savage Editing,” displayed above. Below, I will place it beside the original page, from The Collected Poems Of  G.K. Chesterton.

I’ll close by passing on to you the experience of the author who composed an ode on the Trinity, using an article about C.S. Lewis. My guess is that you too – should you be so bold as to attempt writing your own blackout works – will experience a similar satisfaction.

It’s hard being constrained by the page of text in front of you. The more you black out, the less you say; but the less you black out, the less impact each word has. It’s a game of compromise, striking the balance between being artistic and understandable.

But I think the end result is a celebration of both Lewis’ work and the Trinity.

The illustration below shows my blackout, which I entitled “Savage Editing,” beside the original page, which includes a portion of “The Scouring of the Horse,” from The Collected Poems Of  G.K. Chesterton. “The Scouring” is the final book in Chesterton’s Ballad of the White Horse.

Meandering Words

On By robstroudIn Advice to Writers, C.S. Lewis, Family, History, Nature, Roman History, Words, Writing12 Comments

Sometimes we read for business. Other times we read for pleasure. Few people are so fortunate as to have these two purposes overlap.

When the goal is the former – the necessity of reading a particular document, our desire is usually to simply “get it done.” We want to arrive quickly at the point, so we can move on to some other project. In this context, digressions are definitely something to be avoided.

This is how military writers are taught to do their job. Deliver the goods immediately, with zero interest in the prose. (Well, apart from proper grammar and spelling.) This principle is frequently described with the acronym BLUF – bottom line up front. This approach makes sense, when lives can literally be on the line and the need to make sound decisions swiftly is urgent.

The Harvard Business Review puts it bluntly: “In the military, a poorly formatted email may be the difference between mission accomplished and mission failure.” Being the HBR, they naturally translate this concept for application in the business world.

If you are curious, you can freely download some of the military writing manuals available online. Warning: these manuals tend to include lots of tedious details that ironically appear to violate the BLUF principle itself!

Army Regulation 25–50 Preparing and Managing Correspondence

DOD Manual 5110.04, Correspondence Management

Canadian Armed Forces Junior Officer Development Programme

Similar to the military approach, we have the civilian version, which remains common in traditional journalism. (Even though printed newspapers continue to vanish, this approach is still found in many digital outlets.) This technique is referred to as the Inverted Pyramid Structure. Here is one concise definition:

The inverted pyramid is the model for news writing. It simply means that the heaviest or most important information should be at the top – the beginning – of your story, and the least important information should go at the bottom. And as you move from top to bottom, the information presented should gradually become less important.

The benefit of this strategy is that readers immediately learn the primary “news.” Only when they desire to supplement that information do they need to continue reading. Presumably the material follows in descending significance until they either finish the piece or it descends into minutiae of no interest to that particular reader.

The previously linked article notes one extremely important aspect of the inverted pyramid [emphasis added].

The inverted pyramid format turns traditional storytelling on its head. In a short story or novel, the most important moment – the climax – typically comes about two-thirds of the way through, closer to the end. But in news writing, the most important moment is right at the start of the lede.

And it is this traditional sort of storytelling to which we most often turn when we read for pleasure rather than as an obligation.

Reading for Enjoyment

Pleasurable reading is not, by definition, expeditious. It takes its time to tell a story, rather than rushing into a rapid information dump. In fact, when the narrative is savaged by unloading too much background or too many facts, it becomes hard to enjoy even when we want to like it.

Literature, even brief poetry, takes us on a journey. We go somewhere. We are transformed, albeit usually in an unmeasurable way. While the change may be small, it is quite distinct from the difference made by simply learning new facts.

While the journey itself may appear straightforward, in most cases there are often subtle alterations in its course. You might say a story intentionally tends to meander, which is why I titled this post as I have. Meander itself is a curious word.

Like so many words, meander has a literal and a figurative application. In a moment we will see each of these meanings entertainingly illustrated in C.S. Lewis’ correspondence.

I began thinking about this intriguing word when I recently read about its source. It begins with an ancient kingdom in Asia Minor (modern day Türkiye). Lydia was independent for half a millennia before its king, Croesus, was defeated by Cyrus of Persia. One of Lydia’s lasting contributions to civilization came in the form of the minting of coinage.

Herodotus tells us they were the first to do so. This is, of course, a captivating story in its own right.One of the images used on one of their early coins was of the Maeander River, which meandered through their kingdom. The picture above, View of Maeander Valley, was published by Flemish artist Cornelis de Bruyn in 1714.

Did C.S. Lewis Meander?

Searching through Lewis’ writings, I did not find any examples of his use of this winding word. (Let me know if you’re aware of one.)

However, here are two enjoyable examples of his informal use of “meander” in his correspondence. The first, in a 1920 letter to his father, uses the word in its figurative sense.

I have two tutors now that I am doing ‘Greats,’ one for history and one for philosophy. . . . We go to the philosophy one in pairs: then one of us reads an essay and all three discuss it. . . . it is very amusing.

Luckily I find that my previous dabbling in the subject stands me in good stead and for some time I shall have only to go over more carefully ground through which I have already meandered on my own.

In the second occurrence, we find C.S. Lewis writing to his Brother Warnie in 1932. He describes, at some humorous length, the condition of the pond on their property. You can visit this same setting today in the C.S. Lewis Nature Reserve.

I have included the full discussion below. Suburbanites (and even more so, city-dwellers) may not be able to appreciate this story the way that people who have lived in the country can. Still, those with a minute to read the entire passage will likely enjoy the way Lewis meanders through his description of events. Oh, and lest you suffer unnecessary shock, be forewarned that Lewis uses the word “bathe” here not to refer to a “bath,” but to a plunge in the pond.

You will gather from this that summer has arrived: in fact last Sunday (it is Tuesday to day) I had my first bathe. You will be displeased to hear that in spite of my constant warnings the draining of the swamp has not been carried out without a fall in the level of the pond.

I repeatedly told both [the workmen] that the depth of water in the pond was sacrosanct: that nothing which might have even the remotest tendency to interfere with that must be attempted: that I would rather have the swamp as swampy as ever than lose an inch of pond.

But of course I might have known that it is quite vain ever to get anything you want carried out: and the pond is lower. However, don’t be too alarmed. I don’t think it can get any lower than it is now.

I don’t know how much of the draining operations Minto [Janie Moore] has described to you nor whether you understood them. In fact, remembering what a mechanical process described by Minto is like I may assume that the more she has said the less you know about it.

The scheme was a series of deep holes filled with rubble and covered over with earth. Into each of these a number of trenches drain: and from each of these pipes lead into the main pipe now occupying the old ditch between the garden and the swamp, which in its turn, by pipes under the lawn, drains into the ditch beside the avenue.

It was however useless to do all this as long as the overflow outlet from the pond (you know – the tiny runnel with the tiny bridge over near the Philips end of the pond) was meandering – as it did – over all the lower parts of the swampy bit. Nor was it possible to stop this up and deny the pond any outlet, as it would then have been stagnant and stinking in summer, and overflowing in winter.

It was therefore decided to substitute a pipe outlet for the mere channel outlet – which pipe could carry the overflow from the pond, through the swampy bit without wetting it, to the rest of the drainage system. When they first laid this pipe I said that its mouth (i.e. at the pond end) was too low and that it would therefore carry off more water than the old channel and so lower the pond.

The workmen shortly denied this but I stuck to my point and actually made them raise it. Even after they had raised it I was still not sure that it wasn’t taking off more water than the old channel did: so I have now had a stopper made which is in the mouth of the pipe at this moment. I have also given the spring-tap up beyond the small pond a night turned on, and I trust that by thus controlling in-flow and outflow of water I can soon nurse the pond back to its old level.

At any rate I don’t see how it can sink as long as its escape is bunged up. As to the degree of loss at present, as there are no perpendicular banks anywhere it is hard to gauge. I should think that the most pessimistic episode could hardly be more than ¾ of a foot: i.e. a difference one is unconscious of in bathing. Still I grudge every inch.

By the way, it has just occurred to me that the sinking may not be due to the draining at all: for the old ‘channel’ escape, when I looked at it just before the operations began, had certainly widened itself extremely from what I first remembered, and must have been letting out more than it ought. In that case the new pipe may have arrested rather than created a wastage.

One criticism some short-attention-span readers levy against Tolkien’s masterpiece, Lord of the Rings, is that too much time is spent traveling. Such critics overlook the reasons the author presented his saga in the manner he did. Well, for those desiring to simply jump from battle to battle, we now have graphic novels. All of the journeying in LOR has a purpose; it is far from mere “meandering.”

Tolkien detailed the travails of the Fellowship during their quest, and his maps allow students of the mythos to discern “Frodo and Sam traveled over a thousand miles from the Shire to Mount Doom in the Lord of the Rings trilogy, over multiple landscapes and terrains.” One of the colorful words created by Tolkien, that rolls off the tongue like a babbling brook, is the name of a river that crosses the Old Forest: Withywindle. (A withy is an Old English word for a willow, or slender twigs or branches.) Its course may not have been especially winding, but it definitely sounds like it should have been.

No one can deny the influence of J.R.R. Tolkien on fantasy literature. But the aforementioned shortening attention spans do deter some readers. Make no mistake about it, however, the traveling in the writings of the Inklings is not without purpose. Nor does it disrupt the story. Still, the less skilled among us should be cautious about mimicking their techniques. One author describes this hazard in the following way.

Ultimately, when you write, your goal should be to make sure that everything you write doesn’t meander, or in other words, moves in some way towards the conclusion of your story. Be that taking care of a subplot, a character arc . . . whatever, it needs to hit a step, or move towards it, on the path to the ultimate ending of your story.

Remember both pacing and the up and down of rising and falling tension. A meandering story stretches out a low point and breaks the pacing. You always want to keep your plot on a straight line to the ending. The characters, they can wander, as long as the plot doesn’t.

Thanks for meandering with Mere Inkling today. Isn’t it wonderful that God allows us these carefree moments, and life isn’t all about “getting things done?”

Improve Your Writing with a Brevity Exercise

On By robstroudIn Advice to Writers, C.S. Lewis, Great Authors, History, J.R.R. Tolkien, Literature, My Writing Projects, Narnia, Roman History, The Bible, Writing21 Comments

While we are unlikely to become another J.R.R. Tolkien or C.S. Lewis, it is quite possible to improve our literary skills.

There are numerous ways to strengthen our writing. One of my favorites is to “stretch” my abilities by engaging in exercises that push me far beyond my nonfiction comfort zone. More on the details in a moment.

C.S. Lewis prized brevity and clarity. Most readers do. I’ve written about this in “C.S. Lewis on brevity.” Before that, I had discussed brevity as a factor of “clear communication,” while focusing on the value of common semantics to avoid confusion.

I encourage you to read “In Defense of the Fairy Tale: C.S. Lewis’s Argument for the Value and Importance of the Fairy Tale.” The author cites Lewis’ reason for choosing the fairy tale as his genre for Narnia.

[Lewis] describes the invention process for the Chronicles of Narnia as first coming in mental images, “a faun carrying an umbrella, a queen on a sledge, a magnificent lion.” Next came the selection of a form in which to tell the story, one absent of a love interest or close psychology.

The form excluding these was the fairy tale. Lewis tells us that he fell in love with the form itself, “its brevity, its severe restraints on description, its flexible traditionalism, its inflexible hostility to all analysis, digression, reflections and ‘gas’” and the very limitations of the vocabulary.

He concludes, “I wrote fairy tales because the Fairy Tale seemed the ideal Form for the stuff I had to say,” not unlike the stone selected by the sculptor or the sonnet by the poet.

While I share the passage above at some length, my focus here is on Lewis’ observation that fairy tales are inherently “brief.” The fairy tale was, indeed, the “ideal Form” for C.S. Lewis’ classic stories from Narnia.

Even Briefer Genres

As a brevity-challenged individual (common for pastors), I like writing exercises able to make a dent in my innate verbosity. And what shorter option might one explore than a genre limited to a half dozen words?

Before embarking on my current challenge, let me give you a bit of background on the Six Word Story.

As Mark Twain famously wrote, “I didn’t have time to write a short letter, so I wrote a longer one instead.” Intense Minimalism provides similar inspiration from other earlier writers.

“Not that the story need be long, but it will take a long while to make it short.”
Henry David Thoreau,
“It is my ambition to say in ten sentences what others say in a whole book.”
Friedrich Nietzsche
“If I had more time, I would have written a shorter letter.”
Marcus Tullius Cicero (a predecessor of Samuel Clemens)
And back again to Mark Twain:
“If you want me to give you a two-hour presentation, I am ready today.  If you want only a five-minute speech, it will take me two weeks to prepare.”

C.S. Lewis was capable of writing long personal tomes to family and intimate friends. His correspondence with casual friends – such as Americans who sometimes sent food gifts during Britain’s post-WWII rationing – tended to be warm, but short. This was particularly true when his brother Warnie was not available to assist with his correspondence, as the following letters attest.

20th. January 1948
Dear Mr. Howard, This is really very handsome of you, and you could hardly have sent a more welcome gift. I have only to call your attention to the so-called ‘Superfine’ paper on which I am replying to give you some idea of the luxury of writing on a decent paper at last. But I’m afraid there is something which even American generosity cannot supply me with: an article called TIME, which was the cause of my previous letter! (its brevity I mean)

25th August 1949
Dear Dr. Allen Yet once again hearty thanks for a fine parcel which has arrived in excellent condition to-day. I don’t know how we should get on without you. My brother who drives the typewriter is away and my hand is nearly dropping off from letter writing, so you’ll forgive brevity – and the horrible scrawl! I’m none the less grateful inside!

Six Word Stories were popularized in the United States through association with Ernest Hemingway. However, it is an urban legend to credit him with this poignant example: “For sale, Baby shoes, Never worn.”

MasterClass offers a helpful lesson at “How to Write an Unforgettable Six-Word Story.” They actually suggest that you can drop a few of these into your writing day to renew your energy.  

Like other forms of short stories or flash fiction, a six-word story allows a reader to consume an entire narrative in just a moment’s time. If you’re trying to get in some short, but challenging, bursts of writing practice throughout your day, try writing six-word stories. These bite-sized narratives are fast and fun.

As for telling any sort of satisfying “story” in six words, it’s a bit of an hyperbole. However, that hasn’t stopped a number of people from making a literal career of promoting the genre. At the forefront of the movement is Six Word Memoirs.

Christians have likewise joined the club. For example, Six-Word Lessons to Discover Missional Living: 100 Lessons to Align Every Believer with the Mission of Jesus is volume  forty-three in “The Six-Word Lessons Series.”

Prior to learning about these companies, I thought it be fun to suggest that one you compose Six Words about the Christian Life. Still, since an idea can’t be copyrighted, you’re still free to market your own works in this genre.

Some of My Modest “Attempts”

One subgenre of Six Word Stories is Six Word Biographies. One website applies this to biblical personages. Among them:

Mary
“Behold the handmaid of the Lord.”
Esther
“For such a time as this.”

To which I dare to add: 

Jephthah (Judges 11-12)
“Rash vows bring about terrible tragedies.”
Jehosheba (Exodus 1-2)
“Moses’ mother, eclipsed by her daughter.”
Abednego (Daniel 1-3)
“I survived the fiery furnace too.”

Now, allow me to apply the technique to several other people. 

Jeanne d’Arc
“Heroic innocent, visionary warrior, martyred saint.”

Walt Disney
“Gifted Kingdom maker, buried, rolling over”

Grigori Rasputin
“Poisoned, shot, drowned, and ultimately, damned.”

George Washington
“Soldier, statesman, who shunned the throne.”

Bozo
“Dated humor, creepy antics, Krusty cosmetics.”

And, I close now with my personal favorite.

Larry Norman
“He was only visiting this planet.”

A half century hasn’t diminished the power of Norman’s message. (The titular lyrics are in the “Reader’s Digest” track on the record linked here.)