Sweating the Small Stuff

Wes Anderson says details are what the world is made of, and his logic is difficult to dispute. They’re certainly the constituent particles of a story, and also of the manuscript that conveys it. Subtle changes of phrasing have a strong impact on the flavor and fluidity of prose. Little things matter.

Consider:

It was clear that no one else knew the secret.

As opposed to…

It was clear no one else knew the secret.

Or, more to Ernest’s liking:

No one else knew.

Which one is best? The only honest answer to that is the unhelpful “it depends,” but a reliable guideline is to use the fewest words that support the message. Arguably, that something’s clear can go unstated. So, the first two drafts might be burdened with superfluous observation. But the ultra-terse third variant might throw readers for a POV loop because it feels like direct thought. Cultivate a strong sense of the style and voice you’re working in, and pick your cuts accordingly.

When it’s time to stomp the weasels, you’re faced with such choices over and over. Every sentence could potentially be a different sentence. In fact, many alternate selves haunt each one. And these are important choices.

How you tell it is every bit as important as the tale. Stomping weasels with a partner will show you whether you’re in sync about the how of your storytelling. You’ll be lulled into thinking the process is purely mechanical, but certain blatantly extraneous words will be sacrosanct in your partner’s sight. And your partner will blithely suggest trimming your favorite verbiage.

Don’t be too eager to appease each other when these disputes arise. Talk them through, and read the passages aloud. These snags are clues to the nuances of how we each interpret language, and exploring them will help you converge on a voice that truly reflects you both.