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5) If you've nothing to say, say it any way you like. Stylistic innovations, contorted story lines or none, exotic or genderless pronouns, internal inconsistencies, the recipe for preparing your lover as a cannibal banquet: feel free. If what you have to say is important and/or difficult to follow, use the simplest language possible. If the reader doesn't get it then, let it not be your fault.

 

Larry Niven

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You would not serve junk food at a banquet, and your book must be a banquet. Get your language from Swift, not from Shopsy's.

 

Robertson Davies

 

What special magic does Lafferty offer? The simple answer has always been his use of language. Well what of it — the field has many who can make a phrase sing or sing a phrase that's the thing. The true answer lies in that his stories sound like they're folk tales. Now I said something very precise there. Lafferty doesn't use the language of folktales, and only rarely uses their rhythm. But he lives so well within the langauge of his creation that his language — particularly in the combination of slightly archaic folk speech and outrageous etymologies for his words — sounds like language that some one has said somewhere. Yevgeny Zamyatin developed the concept of a "prose foot" as way of internal pacing of fiction. He saw it as a kind of rhythmic device that by causing the reader to remember an earlier part of the narrative became a force for a choral (as in pertaining to choruses) cohesion that bound the story together in a different way than plot mechanics. This method, which I can't detect in Zamyatin's works (since Russian is Greek to me) is the core of Lafferty's work. He has has invented the post-modern equivalent of the Homeric epithet.

 

R. A. Lafferty

 

The creation of a poem, or mathematical creation, involves so much sense of arrival, so much selection, so much of the desire that makes choice — even though one or more of these may operate in the unconscious or partly conscious work-periods before the actual work is achieved — that the questions raised are very pertinent. . . . The poet chooses and selects and has that sense of arrival as the poem ends; he is expressing what it feels like to arrive at his meanings. If he has expressed that well, his reader will arrive at his meanings. The degree of appropriateness of expression depends on the preparing. By preparing I mean allowing the reader to feel the interdependences, the relations, within the poem.
These inter-dependences may be proved, if you will allow the term, in one or more ways: the music by which the syllables resolve may lead to a new theme, as in a verbal music, or to a climax, a key-relationship which makes — for the moment — an equilibrium; the images may have established their own progression in such a way that they serve to mark the poem’s development; the tensions and attractions between the poem’s meanings may mark its growth, as they must if the poem is to achieve its form.
A poem is an imaginary work, living in time, indicated in language. It is and it expresses; it allows us to express.

 

Muriel Rukeyser

 

My book is different.
In case you hadn't noticed, the story I'm telling is a little different. It's a little shy on the Aristotelian unities. It doesn't follow the classic Hollywood three-act structure. It's not like a five-act Shakespearean play. It's not like a Harlequin romance.
So what *is* the structure then? F**k if I know. That's part of what's taking me so long to figure out. As far as I can tell, my story is part autobiography, part hero's journey, part epic fantasy, part travelogue, part faerie tale, part coming of age story, part romance, part mystery, part metafictional-nested-story-frame-tale-something-or-other.
I am, quite frankly, making this up as I go. If I get it right, I get something like The Name of the Wind. Something that makes all of us happy.
But if I f**k it up, I'll end up with a confusing tangled mess of a story.
Now I'm not trying to claim that I'm unique in this. That I'm some lone pioneer mapping the uncharted storylands. Other authors do it too. My point is that doing something like this takes more time that writing another shitty, predictable Lord of the Rings knockoff.
Sometimes I think it would be nice to write a that sort of book. It would be nice to be able to use those well-established structures like a sort of recipe. A map. A paint-by-numbers kit.
It would be so much easier, and quicker. But it wouldn't be a better book. And it's not really the sort of book I want to write.

 

Patrick Rothfuss

 

Language has always been important in politics, but language is incredibly important to the present political struggle. Because if you can establish an atmosphere in which information doesn't mean anything, then there is no objective reality. The first show we did, a year ago, was our thesis statement: What you wish to be true is all that matters, regardless of the facts. Of course, at the time, we thought we were being farcical.

 

Stephen Colbert