Less is more? How can less be more?

Last I checked, 4 oranges are less than 5, and that means….

Okay, hold on; let’s try it in a writing example.

He went to the store.

He went to the grocery store and bought milk, eggs, beer, and bread.

Nope; more is still more…or is it?

Let’s check out one more example.

Lucy told him that she didn’t like it when he fed the dog at seven because that was too early, and then the dog would be hungry again before four, which was when she got home. John looked at her, and his face contorted when he kind of squinted his eyes. His lips paled in color, and they grew tight; there was a mean flicker in his hard eyes and his jaw clenched.

That’s quite a bit. That must be great, right? It’s definitely more….

“Don’t feed Bella so early,” Lucy chastised. “She’ll get hungry before I get home at four.”

John returned her look, bearing an expression of indignation.

Uh-oh! That’s way less…but it shows way more, doesn’t it?

The whole less is more concept is intimately tied into showing versus telling, but it also engenders a great deal more. In the example above, both versions are providing the same story; one is a wordy way of telling a situation, and the other is a great way of providing an experience, but sometimes, it’s what a writer doesn’t say, show, or tell that makes or breaks a story.

Admittedly, when I first started writing, this was one of my greatest drawbacks; I used to state something in prose like just before it happened; a paragraph, a page, maybe two pages later, what I had alluded to occurred.

Foreshadowing is fine, but the following example explains it better.

John watched the cow as she gave birth to her little baby. A new life was dawning, but with life comes death; such is the way of the world. Things come and things go…and so do people, John thought.

And then, two paragraphs later, John was having to deal with the death of a loved one. That’s too close for foreshadowing; it’s foretelling, and needs to just be cut, so that as a whole, the story provided is less, but the experience is more. The easiest way to solve the above situation is to just cut the thought that John had. A more creative way is to have that scene as the story’s opener, that way, if John has to deal with death right away, it doesn’t affect the continuity, but that’s considered restructuring, and I’m not discussing that yet.

Let’s see another form of less is more.

The sun glistened off her sequins the way errant rays of gold illuminate stained glass during the brilliancy of early morning. Her radiant appeal was thwarted only by her grace and poise; the way she danced, like no one was watching; the way she laughed, like Beethoven’s sixth symphony, Pastoral. Simply watching her saunter down the stairs—a great banister of gold beheld only by the angels themselves—brought unto the heart the truest of emotions; the simplest; love, but true love, the kind of love only ever described by Greek Mythology, and never truly felt by a mere mortal human, until today…the day I saw her, my angel, Melody.

Boy…that’s right purdy’ writin’, and there’s certainly a place for it, but if the entirety of the story is written like this then…where is the story? What has happened in the example above? A man saw a woman come down the stairs and he fell in love with her, but what does she look like? Where are they? What are people doing? There’s nothing in the example except for pretty writing, flowery prose, and that isn’t good storytelling.

I’m gonna’ let you guys in on a little secret; creative writing courses are scams, and they are creativity killers.

Picture this: you see a cabin in the woods. It is old, a bit moldy, and you can see the crevices in the aged logs. The windows are obscured by grime. The door, which looks to have once been painted a vibrant green, is now a faded brown.

Certainly, the cabin can be beautified by placing a bed of red roses below the window. Now, imagine placing rows and rows of roses all around the cabin. Watch the roses surround the entirety of the structure; see them grow, and twist, and intertwine, until all that you can see is brambles and pretty, red flowers.

It’s just that—pretty, but now the substance is gone. The worn cabin is the story, and all that pretty writing just alienates your audience; it obscures the message, the reason for even telling the story. Writers, why are you telling your story? You have to be able to answer that.

Less is certainly more if the concept is employed correctly, which is why I’m explaining what it means.

Now, I’ll be the first to say; there are NO rules in writing, but there are numerous rules in editing, and it is imperative, paramount to good writing, to follow those rules, because no matter the story, the experience given is supposed to be for the reader, the audience, and they have been trained to glean information in a specific way, and all too often, writers and editors forget what it was like being just a reader without knowledge of crafting a book.

Less is certainly more especially when more entails repetition, and that’s the last thing I want to cover with this post.

Often times, a writer accidentally forgets that their audience isn’t comprised of a bunch on nincompoops. In other words, they relate the same information over and over again ad nauseam; yes, we get it; Jim loves his family, stop telling us. Yes, we get it, Ellie feels guilty for leaving her family behind. Yes, we get it; they fell in love from simply a look….

Writers; do try to avoid blatant repetition; what good is two pages worth of the same information written in a slightly different manner? Editors, when you see it, cut it! Cut the redundancies. Readers are bright people, and they may certainly need a reminder, a one liner, a piece of dialogue, or an internal thought to remind them of something important, but keep it concise.

What good is a one hundred thousand word book if only fifty thousand words are story and the rest is but pretty writing? A one hundred thousand page book must be at least eighty thousand words of actual story, and that doesn’t mean telling the reader what is happening. Conversations, character actions, reactions, interactions, world building, even descriptions are all part of the story IF THEY DRIVE THE PLOT ONWARDS. That’s why only what is absolutely pertinent must remain in the story, and everything else, no matter how much the writer likes it, must be cut.

There are few exceptions, and they deal with pacing, and I will cover pacing in the future.

Thanks for reading, and I appreciate that you have read what I wrote. On top of that, I’m grateful that many of you are looking over the information I provide, so I want you to know that it’s much obliged. Also, the fact that lot’s of people here are letting me know that they are being helped by my advice is just aces. Furthermore, it’s important for me to say thank you to all those who continue to share with others my helpful thoughts…I’m joking…did you get it?

Seriously, thanks, and if you have questions, comments, or concerns, you know where to find me. Also, check out my Editing Services tab.