Writing Tip #2: Getting Started, Part Two - The Fourth Pillar
Hello again! I want to thank everyone for the phenomenal amount of support my last post received. I'm really hoping to keep this momentum up, and I'm very thankful that so many people are having as much fun as I am.
As always, it's time for our next venture into the wonderful world of writing. Last time, we discussed character, plot, and setting. Next, I'd like to delve into what I personally consider the fourth important pillar alongside these. This fourth pillar is prose!
In writing, prose is meant to describe the manner of which a writer writes. Think of it as the writer's own personal style. Prose is specific to what is literally on the page. Prose dictates specifically the word choice, sentence length variation, grammar choices, and diction of the author. While communities around this are virile, an author need not worry if their prose is strictly "good", rather that it is consistent and fitting.
Typically, when a person (mostly literature students, because no one else gives a shit about prose) refers to "good prose", they will refer to the works of classic authors like Austen or Melville. "Good prose" tends to be filed under the same vein of books that non-literature students complain about, the ones that harp on about descriptions of a tree for an hour. This prose is praised because it excels in imagery--these hour long tree descriptions use excessive verbiage to paint an excessively clear picture of the surroundings. Often, the word choice of the author is what lends it its praise. Our average author, again, need not worry. One does not need to harp on about a tree for an hour to be good at prose. It is better, instead, to be fitting.
[ ID: MOTHER died today. Or, maybe, yesterday; I can't be sure. The telegram from the Home says: YOUR MOTHER PASSED AWAY. FUNERAL TOMORROW. DEEP SYMPATHY. Which leaves the matter doubtful; it could have been yesterday. ]
What precedes is an excerpt from Albert Camus's ever iconic 'The Stranger', in one of its many translations. While the original word choice is lost in translation (from dastardly French), the intent and prose of Camus is obediently transcribed by loyal translators. The main character of The Stranger, Meursault, is a man who thinks in a very objective and brisk sense. This bleeds into the prose of the book itself. Here, it would only kneecap Camus and The Stranger if the book indulged in the flowery, purple prose (term used to describe prose that is syrupy and poetic) of other notable classics, because it would go against the main character's worldview.
It's not necessarily important that your prose uses amazing words and the perfect Austenian writing, but rather that it matches the story. If your narrator character is a preteen girl, she's not going to describe things as 'Kafkaesque' (unless she's the coolest teen girl ever). Experimenting with prose is especially fun in multiple POV stories, with the possibility of different characters speaking or recounting things differently. Just as I recommended writing exercises previously when building characters, writing multiple POVs with different prose on purpose is a good way to build skill in prose. Everyone has their own specific 'prose', but developing your prose is an excellent idea, especially before writing the first draft of your project. Just like a drawing style, whereas everyone has their own style, it's better to learn to draw motion, backgrounds, and shadows before starting drawing your webcomic.
In a first person perspective novel, the prose of the book should be close to the way the narrator character speaks in dialogue, unless there's a specific reason otherwise (ie. the character is a spy and speaks differently to the people around them than they would regularly, or something along that vein). Multiple POV third person novels may also see a shift in prose depending on who is being followed, but they don't always need one. In fact, a dramatic shift may be a bit jarring for readers in these instances. Third person omniscient books need not a prose specific to the central character per se, but this brings in the topic of audience. A book with a story aimed at preteen audiences probably shouldn't use advanced prose, as it may be difficult for the preteen audiences to follow. A writer's prose, however, should be flexible enough to shift from genre-to-genre, reading level to reading level.
Don't believe me? Try it! A great way to practice prose, especially in this sense, would be to write the same general passage for different audiences: first as a children's book, then as a YA book, then as an adult book, and maybe even as an Austenian classic. A great way to practice prose and strengthen characters would be to write the same scene from many different character's perspectives, and incorporating the character's quirks into the prose. Personally, as well, I'm going to recommend writing poetry, especially rhyming poetry. Poetry challenges writers to use thinner perimeters to build word choice and intent.
Thanks everyone for reading once again! I know prose isn't a topic many find super interesting, and I'm sorry to disappoint those who were looking for a character writing or a worldbuilding tip. I promise, next time. Happy writing, prose apprentices, and thanks again for being along for the ride.
