Readers are primarily interested in what you have to say. By the way in which you say it you may encourage them either to read on or to give up. If you want them to read on:
Do not be stuffy. “To write a genuine, familiar or truly English style”, said Hazlitt, “is to write as anyone would speak in common conversation who had a thorough command or choice of words or who could discourse with ease, force and perspicuity setting aside all pedantic and oratorical flourishes.”
Use the language of everyday speech, not that of spokesmen, lawyers or bureaucrats (so prefer let to permit, people to persons, buy to purchase, colleague to peer, way out to exit, present to gift, rich to wealthy, show to demonstrate, break to violate). Pomposity and long-windedness tend to obscure meaning, or reveal the lack of it: strip them away in favour plain words.
Do not be hectoring or arrogant. Those who disagree with you are not necessarily stupid or insane. Nobody needs to be described as silly: let your analysis show that he is. When you express opinions, do not simply make assertions. The aim is not just to tell readers what you think, but to persuade them; if you use arguments, reasoning and evidence, you may succeed. Go easy on the oughts and shoulds.
Do not be too pleased with yourself. Don't boast of your own cleverness by telling readers that you correctly predicted something or that you have a scoop. You are more likely to bore or irritate them than to impress them.
Do not be too chatty. Surprise, surprise is more irritating than informative. So is Ho, ho and, in the middle of a sentence, wait for it, etc.
Do not be too didactic. If too many sentences begin Compare, Consider, Expect, Imagine, Look at, Note, Prepare for, Remember or Take, readers will think they are reading a textbook (or, indeed, a style book). This may not be the way to persuade them to renew their subscriptions.
Do your best to be lucid (“I see but one rule: to be clear”, Stendhal). Simple sentences help. Keep complicated constructions and gimmicks to a minimum, if necessary by remembering the New Yorker's comment: “Backward ran the sentences until reeled the mind.”
The following letter from a reader may be chastening:
SIR—At times just one sentence in The Economist can give us hours of enjoyment, such as “Yet German diplomats in Belgrade failed to persuade their government that it was wrong to think that the threat of international recognition of Croatia and Slovenia would itself deter Serbia.”
During my many years as a reader of your newspaper, I have distilled two lessons about the use of our language. Firstly, it is usually easier to write a double negative than it is to interpret it. Secondly, unless the description of an event which is considered to be not without consequence includes a double or higher-order negative, then it cannot be disproven that the writer has neglected to eliminate other interpretations of the event which are not satisfactory in light of other possibly not unrelated events which might not have occurred at all.
For these reasons, I have not neglected your timely reminder that I ought not to let my subscription lapse. It certainly cannot be said that I am an unhappy reader.
—WILLARD DUNNING
Mark Twain described how a good writer treats sentences: “At times he may indulge himself with a long one, but he will make sure there are no folds in it, no vaguenesses, no parenthetical interruptions of its view as a whole; when he has done with it, it won't be a sea-serpent with half of its arches under the water; it will be a torch-light procession.”
Long paragraphs, like long sentences, can confuse the reader. “The paragraph”, according to Fowler, “is essentially a unit of thought, not of length; it must be homogeneous in subject matter and sequential in treatment.” One-sentence paragraphs should be used only occasionally.
Clear thinking is the key to clear writing. “A scrupulous writer”, observed Orwell, “in every sentence that he writes will ask himself at least four questions, thus: What am I trying to say? What words will express it? What image or idiom will make it clearer? Is this image fresh enough to have an effect? And he will probably ask himself two more: Could I put it more shortly? Have I said anything that is avoidably ugly?”
Scrupulous writers will also notice that their copy is edited only lightly and is likely to be used. It may even be read.
