avatarKyle Erik, J.D.

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at sparks your interest but that you don’t know deeply.</li><li>Once you see a way to connect it with something you do know well, share your insights. Learning out loud is an underrated art.</li><li>If you post it here on Medium, let me know!</li><li><b>Bonus tip</b>: As you research, consider taking handwritten notes. As outlined in the article below, recent studies suggest this can lead to faster learning!</li></ul><div id="22b2" class="link-block"> <a href="https://readmedium.com/5-research-backed-reasons-to-keep-a-journal-52afc466837d"> <div> <div> <h2>Journal Power: A Brain-Based Case for Writing With Heart</h2> <div><h3>The surprisingly powerful benefits of putting pencil to paper</h3></div> <div><p>medium.com</p></div> </div> <div> <div style="background-image: url(https://miro.readmedium.com/v2/resize:fit:320/1*YsLzQqhgVV-v7RbpU5J6GQ.jpeg)"></div> </div> </div> </a> </div><h2 id="bbe3">2) Write with clarity, write for impact</h2><p id="9774">In <i>Ars Poetica</i>, Horace urges for clear, compelling language.</p><p id="664b">“In pompous introductions,” he writes, “and such as promise a great deal, it generally happens that one or two verses of purple patch-work . . . are tagged on.”²</p><p id="a762">Expressed in modern language: less is more.</p><p id="f298">Or, as Horace ultimately states,</p><blockquote id="6b8c"><p>“Whatever precepts you give, be concise.”</p></blockquote><p id="58a2">It’s a fine line, but there is a difference between a showy, ostentatious expression, formulated with no shortage of bloviation (like this one, offered with a wink), and an elegant turn of phrase.</p><p id="dab3">In the age of information overload, Horace’s call for clarity is well-advised.</p><p id="5b23">Concise doesn’t mean simple. Expanse doesn’t guarantee depth.</p><p id="04bb"><b>Try it</b></p><ul><li>Review a work finished at least one month ago.</li><li>Red pen in hand, read as <i>an</i> <i>editor</i>, not as <i>the writer</i>.</li><li>Find one passage that could strengthen the article if shortened or removed.</li><li>Circle unnecessary words or phrases. (Adverbs are a solid start, as are “awesome,” “great,” “actually,” “just,” and “irregardless.”)</li><li>Update the work if possible.³</li></ul><h2 id="8b98">3) Be surprising, yet believable</h2><p id="f572">“Truth is stranger than fiction,” said Mark Twain in a well-known quip.</p><figure id="a24a"><img src="https://cdn-images-1.readmedium.com/v2/resize:fit:800/1*ifUn9BT4070tu9EC8ER66g.jpeg"><figcaption>Photo by <a href="https://www.pexels.com/@minan1398/">Min An </a>on <a href="https://www.pexels.com/">Pexels</a></figcaption></figure><p id="10cf">What may be less familiar is the reason offered:</p><blockquote id="0bfd"><p>“Because fiction is obliged to stick to possibilities; truth isn’t.”</p></blockquote><p id="b359">Horace’s take? “Let whatever is imagined for the sake of entertainment have as much likeness to truth as possible.” Or, if writing a more fantastical tale, “invent such fables as are congruous to themselves.”</p><p id="d77e"><b>People may love fiction, but they loathe fake.</b></p><p id="65c4">When stories don’t support themselves through internal or external logic, readers may feel duped and disappointed. At a minimum, their suspension of disbelief — that willingness to go along with the story — may cease.</p><p id="0559"><a href="https://readmedium.com/art-creativity-the-suspension-of-disbelief-6ad7c10ab673">Explains author Nancy Hillis,</a></p><blockquote id="07f9"><p>“It’s as if one crack in the illusion spreads to disrupt the entire artistic piece or story.”</p></blockquote><h2 id="9896">To put Horace’s advice into practice</h2><p id="e29e"><b>a) Balance the novel with the familiar, the innovative with the intuitive</b>.</p><p id="e355">Twelve-hour clocks don’t strike 13 and starships wouldn’t make vroom-vroom sounds in space, but we accept these inventions as reasonable enterprises. They don’t upend our reality, they nudge it.</p><p id="4dcf">If your piece isn’t based on real-world dynamics, verify that each pivotal moment is consistent with the story world’s own rules

Options

.</p><p id="4184">Ask: Based on internal story logic, are incredible things happening in a credible way?</p><p id="4eec"><b>b) Another strategy, applicable to all genres, is to avoid <a href="https://proofed.com/writing-tips/deus-ex-machina-a-guide-to-this-literary-device/"><i>deus ex machina</i></a>.</b></p><p id="abe9">Translated as “God from the machine,” this is when stories suddenly “resolve” in <i>unsatisfying </i>and often non-foreshadowed ways.</p><p id="cac8">Voldemort suffers ouchy boo-boo after slipping on a peach, wand breaks, Harry prevails. Drago gets sudden tummy troubles, runs to toilet, Balboa wins.</p><p id="4675"><b>These are bad surprises</b> — like when you pour milk on your cereal only to discover the 2% has more lumps than the Lucky Charms.</p><p id="6018">The best plot twists are the ones we never saw coming, but once revealed, can’t believe we missed.</p><h2 id="18ac">Parting Thoughts</h2><p id="c93a">While his language may be ancient, Horace’s words are timeless. Choose your subjects wisely and write with clarity and truth.</p><figure id="9b05"><img src="https://cdn-images-1.readmedium.com/v2/resize:fit:800/0*7KaH3RKS5Rl3XISN"><figcaption>Photo by <a href="https://unsplash.com/@harshit_suryawanshi?utm_source=medium&amp;utm_medium=referral">Harshit Suryawanshi</a> on <a href="https://unsplash.com?utm_source=medium&amp;utm_medium=referral">Unsplash</a></figcaption></figure><p id="df52">That’s not to say there isn’t room for style, personality, and innovation. As Horace advises,</p><blockquote id="a546"><p>“You will express yourself eminently well if a dexterous combination should give an air of novelty to a well-known word.”</p></blockquote><p id="206d">Thus while <i>Ars Poetica </i>offers instructive guidance it also leaves room for creative nuance.</p><p id="eccb">Clear can be stylish and fiction can tell the truth.</p><p id="cad8">I’d write more, but Horace’s spirit has whispered in my ear. Something about “pompous conclusions and such as promise a great deal.” Heard, Horace, heard. I’ll park it here.</p><p id="12cd"><b>Final scribbles</b></p><p id="2cf3">What’s outlined above are one writer’s interpretations. As with any “advice,” regarding any art, exceptions should be made. Per Austin Kleon:</p><blockquote id="1258"><p>“Feel free to take what you need and leave the rest.”</p></blockquote><p id="e849">Oh, and hey, feel free to leave a comment too, particularly if thou hast a different point of view.</p><p id="d4c5">If you enjoyed this article, please consider following. You can expect quality content about writing, creativity, positive psychology, and other mindful glimmers.</p><p id="9742"><b>Sticky notes</b></p><p id="0aaf"><b>1) </b>Whether ye be a writer of poetry or a scribe of prose, the Poetry Foundation’s outstanding <a href="https://www.poetryfoundation.org/learn/glossary-terms">Glossary of Poetic Terms</a> is worth a gander.</p><p id="ae70"><b>2)</b> Handled with care, purple patchwork has its place, even in prose. For me, a moving example of this would be the colorful and flowing language of Ocean Vuong’s <a href="https://www.barnesandnoble.com/w/on-earth-were-briefly-gorgeous-ocean-vuong/1129509905"><i>On Earth We’re Briefly Gorgeous</i></a><i>. </i>Coincidentally enough, Horace’s work is an epistle and Voung’s is an epistolary novel.</p><p id="07d8"><b>3)</b> Alternatively, leave a comment identifying where this article could be improved (based on Horace’s advice or otherwise). As speakers grow by listening to audiences, writers improve by learning from readers.</p><p id="e94c">🤗 <i>Greetings, I’m Kyle, Fortune 100 speaker, essayist, and pencil advocate. For almost a decade, I’ve shared science-based insights with leading global organizations to help drive positive change. My essays explore creativity, positive psychology, writing, and other mindful glimmers.</i></p><p id="f432">🌱<i> Let’s connect so we can grow our network together. You can follow me on <a href="http://medium.com/@kyle.erik">Medium</a> and find me on <a href="https://twitter.com/KE_Olsen">Twitter</a>, <a href="http://instagram.com/ponder_bubble/">Instagram</a>, and <a href="https://www.linkedin.com/in/kyleerikolsen/">LinkedIn</a>.</i></p><p id="7749"><i>✨ Stay creative!</i></p></article></body>

The Legacy of Ars Poetica: Ancient Wisdom for Modern Writers

Three profitable writing tips from Horace’s 2000-year-old poem

Photo by Chait Goli on Pexels

What do thoughts about thinking and the etymology of “etymology” have in common?

They, much like an ars poetica, are self-referential. They invite reflection in layers both direct and meta.

The Poetry Foundation defines an ars poetica as follows:

“A poem that explains the ‘art of poetry,’ or a meditation on poetry using the form and techniques of a poem.”¹

In short, poems about poetry, writing about writing.

“In an ars poetica,” explains professor Jennifer Richter, “the poet draws back the curtain for a moment, giving the reader a glimpse of their craft.”

Here poets reveal themselves, their processes, and experiences. Their wisdom, like the tips offered below, ready to inspire observant writers.

Author Aimee Nezhukumatathil describes ars poetica as “a way of knowing, of seeing a poet’s rhetoric” and dedicates a captivating chapter to her own writing process in World of Wonders, selected as Barnes & Noble’s Book of the Year in 2020.

Yet while modern bards continue to write about writing, the practice is nothing new. Around 15 BC, one Quintus Horatius Flaccus — or Horace, to his homies — was already unpacking the topic and dropping knowledge.

Horace’s Ars Poetica is often considered a foundation of the tradition and one of its earliest examples.

His phrasing, translated from Latin, may sound odd today, but let’s give ol’ Horace a break. Despite writing this 476-line epistle over two millennia ago, much of the advice still rings true. So, [clears throat] . . .

Here are three ideas two thousand years old by an ancient poet poised to benefit modern writers of prose.

1) Write to your strengths, choose wisely

What are your thoughts about the advice to “write what you know”?

Photo by Aaron Burden on Unsplash

Some writers I’ve worked with (myself included) struggle with it.

Not because it’s devoid of all merit; because it feels oversimplified.

At first, Horace seems to suggest the “write what you know” trope when he says, “Ye who write, make choice of a subject suitable to your abilities.”

Fair enough, but fortunately he doesn’t stop there. Upon further reading, a more nuanced idea takes shape: choose your subjects wisely.

Per Horace:

“Neither elegance of style, nor a perspicuous disposition, shall desert the [hu]man, by whom the subject matter is chosen judiciously.”

Writing what you know is a wise choice but not the only choice.

Strength in expression comes from both what we know and what we’re willing to grow.

If something fascinates you, yet you only know a little, consider making it a subject, so that you might learn a lot.

But don’t make this decision lightly. Quality writing requires an energy only intrinsic passion can fuel.

“Write the kind of story you like best — write the story you want to read.” — Austin Kleon, Show Your Work

Over to you

  • Choose a topic that sparks your interest but that you don’t know deeply.
  • Once you see a way to connect it with something you do know well, share your insights. Learning out loud is an underrated art.
  • If you post it here on Medium, let me know!
  • Bonus tip: As you research, consider taking handwritten notes. As outlined in the article below, recent studies suggest this can lead to faster learning!

2) Write with clarity, write for impact

In Ars Poetica, Horace urges for clear, compelling language.

“In pompous introductions,” he writes, “and such as promise a great deal, it generally happens that one or two verses of purple patch-work . . . are tagged on.”²

Expressed in modern language: less is more.

Or, as Horace ultimately states,

“Whatever precepts you give, be concise.”

It’s a fine line, but there is a difference between a showy, ostentatious expression, formulated with no shortage of bloviation (like this one, offered with a wink), and an elegant turn of phrase.

In the age of information overload, Horace’s call for clarity is well-advised.

Concise doesn’t mean simple. Expanse doesn’t guarantee depth.

Try it

  • Review a work finished at least one month ago.
  • Red pen in hand, read as an editor, not as the writer.
  • Find one passage that could strengthen the article if shortened or removed.
  • Circle unnecessary words or phrases. (Adverbs are a solid start, as are “awesome,” “great,” “actually,” “just,” and “irregardless.”)
  • Update the work if possible.³

3) Be surprising, yet believable

“Truth is stranger than fiction,” said Mark Twain in a well-known quip.

Photo by Min An on Pexels

What may be less familiar is the reason offered:

“Because fiction is obliged to stick to possibilities; truth isn’t.”

Horace’s take? “Let whatever is imagined for the sake of entertainment have as much likeness to truth as possible.” Or, if writing a more fantastical tale, “invent such fables as are congruous to themselves.”

People may love fiction, but they loathe fake.

When stories don’t support themselves through internal or external logic, readers may feel duped and disappointed. At a minimum, their suspension of disbelief — that willingness to go along with the story — may cease.

Explains author Nancy Hillis,

“It’s as if one crack in the illusion spreads to disrupt the entire artistic piece or story.”

To put Horace’s advice into practice

a) Balance the novel with the familiar, the innovative with the intuitive.

Twelve-hour clocks don’t strike 13 and starships wouldn’t make vroom-vroom sounds in space, but we accept these inventions as reasonable enterprises. They don’t upend our reality, they nudge it.

If your piece isn’t based on real-world dynamics, verify that each pivotal moment is consistent with the story world’s own rules.

Ask: Based on internal story logic, are incredible things happening in a credible way?

b) Another strategy, applicable to all genres, is to avoid deus ex machina.

Translated as “God from the machine,” this is when stories suddenly “resolve” in unsatisfying and often non-foreshadowed ways.

Voldemort suffers ouchy boo-boo after slipping on a peach, wand breaks, Harry prevails. Drago gets sudden tummy troubles, runs to toilet, Balboa wins.

These are bad surprises — like when you pour milk on your cereal only to discover the 2% has more lumps than the Lucky Charms.

The best plot twists are the ones we never saw coming, but once revealed, can’t believe we missed.

Parting Thoughts

While his language may be ancient, Horace’s words are timeless. Choose your subjects wisely and write with clarity and truth.

Photo by Harshit Suryawanshi on Unsplash

That’s not to say there isn’t room for style, personality, and innovation. As Horace advises,

“You will express yourself eminently well if a dexterous combination should give an air of novelty to a well-known word.”

Thus while Ars Poetica offers instructive guidance it also leaves room for creative nuance.

Clear can be stylish and fiction can tell the truth.

I’d write more, but Horace’s spirit has whispered in my ear. Something about “pompous conclusions and such as promise a great deal.” Heard, Horace, heard. I’ll park it here.

Final scribbles

What’s outlined above are one writer’s interpretations. As with any “advice,” regarding any art, exceptions should be made. Per Austin Kleon:

“Feel free to take what you need and leave the rest.”

Oh, and hey, feel free to leave a comment too, particularly if thou hast a different point of view.

If you enjoyed this article, please consider following. You can expect quality content about writing, creativity, positive psychology, and other mindful glimmers.

Sticky notes

1) Whether ye be a writer of poetry or a scribe of prose, the Poetry Foundation’s outstanding Glossary of Poetic Terms is worth a gander.

2) Handled with care, purple patchwork has its place, even in prose. For me, a moving example of this would be the colorful and flowing language of Ocean Vuong’s On Earth We’re Briefly Gorgeous. Coincidentally enough, Horace’s work is an epistle and Voung’s is an epistolary novel.

3) Alternatively, leave a comment identifying where this article could be improved (based on Horace’s advice or otherwise). As speakers grow by listening to audiences, writers improve by learning from readers.

🤗 Greetings, I’m Kyle, Fortune 100 speaker, essayist, and pencil advocate. For almost a decade, I’ve shared science-based insights with leading global organizations to help drive positive change. My essays explore creativity, positive psychology, writing, and other mindful glimmers.

🌱 Let’s connect so we can grow our network together. You can follow me on Medium and find me on Twitter, Instagram, and LinkedIn.

✨ Stay creative!

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Literature
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