VOL.
41,No.
HEAD
7
OFFICE:
MONTREAL,
SEPTEMBER
1960
Imagination
HelpsCommunication
T
HE BASIC SKILL in every profession and in
most businessesis the abilityto organizeand
express
ideasin writingand in speaking.
No matter how clever an engineer may be technically,or an executive
managerially,
or a research
man creatively,
he does not show his worthunlesshe
communicates
his ideasto othersin an influential
way.
Language is the most momentous product of the
humanmind.Betweenthe clearestanimalcall of love
or warningor anger, and man’s most trivialword,
therelies a wholeday of creation-- or, as we would
say it today,a wholechapterof evolution.
A businessman is not calledupon to presentthe
elegance
of a wit,a novelist
or a poet.He mustexpress
himself
accurately,
clearlyandbriefly,
but he neednot
denudehis languageof beautyand appeal.
producetheirworksinspiredby the dignityof accomplishment
due to theirgifts.
Look at the dramabuiltinto smalleventsby choice
of wordsand use of imagination:
Dafoegave us Crusoe
recoilingfrom the footprintin the sand;Homergave
us Achillesshoutingover againstthe Trojansand
Ulyssesbendingthe great bow; and Bunyan gave us
Christianrunningfrom the tempterwith his fingers
in his ears.None of thesewas an epic event,but by
theirmasteryof puttingimagination
into theircommunicationthesewriterspaintedsceneswhichstirredus
in the reading:and lingerin our memories
A good piece of writing, whether it be a novel
or a businessletter;does threethings:it communicatesa thought,
it conveys
a feeling,
and it givesthe
readersome benefit.
Thewriter’s
tools
The purposeof the writeris to communicate
effectively.He needsa feeling
for writing
the rightthingin
the rightway at the righttime:not a barebones
recital
of facts,unlessin a specification
or legaldocument,
but
a composition
of wordswhichwill conveyhis meaning
and his sentiment.
Thisrequires
use of imagination,
whichis the cornerstone of humanendeavour.John Masefield,the Poet
Laureate,wrote: "Man’s body is faulty, his mind
untrustworthy,but his imagination has made him
remarkable."
Writingimaginatively
cannotbe taught.It can be
studiedin examples-- the writingsof Dafoe,Shakespeare,La Fontaineand Jules Verneshow what can be
done,but not howto do it.In this,writing
is on a par
with art and the productof an artisan’shands.The
painter
canno moreconveythe secretof his imaginative
handlingof colour than the plumbercan teach that
littleextratouchhe givesa wipedjoint.All three,
writer,artist,artisan,have secretsspringing
from
within.Afterlearningthe principles,
they go on to
What are the writer’stools?A wide rangeof language, for varietyand to avoid the commonplace;
activeverbs,to keep the actionmoving;similes,
which
make words paint a thousandpictures;metaphorand
parable,to make meaningsclear,and rhythm,which
contributes
to smooth,easyreading.
To thesetools,the writeradds imagination,
always
beingcareful
to bringit withinthe scopeof facts.Art
in writingmustnot be used as an escapefromreality.
Thissortof writing
is notsosimplea thingas fluency,
which soap-boxoratorshave in abundance.It is not
so simplea thingas grammatical
exactitude,
whichcan
be hammeredinto boys and girlsby a teacher.
But when it is properlydone,imaginative
writingis
very powerful. Look at Cyrano de Bergeracin the
drama by Edmond Rostand.The hero was valiantand
romantic,
but very sensitive
regarding
the size of his
nose.Thissensitivity
prevented
his makinghiscourtto
the beautifulRoxane,but he wroteardentlettersto
her for a handsomeand stupid friend.The power of
thewritten
wordwonRoxane’s
loveforhisfriendby
proxy.
We do notfindourselves
tripping
overtechnique
in
theinspired
paragraphs
of greatliterary
works.
Think
of theforcefulness,
themeaning,
thesimplicity
of
Goodwriting
needstobe appropriate
totheoccasion, expression,
in Lincoln’sGettysburg
address,in
thepurpose,
thereader
andthewriter.
It mustnotbe
Churchill’s
"fallof France"radiobroadcast.
Then
toopompous
foritsload,
orhesitant
about
whatit seeks
contrast
thegreatgolden
phrases
ofpolitical
campaigto do,or beneath
theintelligence
of thereader,
or too
ners,rising
fromnothing
andleading
to nothing:
words
arrogant
forthewriter’s
position.
on words,dexterously
arranged,
bearing
thesemblance
Writing
is onlyserviceable
andgoodwithreference of argument,but leavingnothingmemorable,no
image,no exaltation.
to theobject
forwhichit is written.
Yousay:"That
is a beautiful
dress";
butletthedressslidefromthe
At theotherendof the scalearethosewhowrite
model’s
shoulders
andliein a heapon thefloor,and
speeches
and lettersstodgily.
Toomanypeoplewho
whatisit?A heapofmaterial.
Itsvirtue
resides
in its
are nieepeopleat heartbecomeanothersortwhen
fittingness
toitspurpose.
theypickup a penor a dictaphone.
Theytighten
up.
They
become
unnatural.
They
curdle
into
impersonWhatis written
imaginatively
in thedailyworkof
sentences.
Theirproduct
is
office
andindustry
willgetdesired
results.
Ifthewriter alityandchoosestarchy
like
a
page
printed
with
very
old
and
worn-out
type.
looks
further,
whatiswritten
withimagination
willlive
In the vividprosewhichmarkedsome seventeenth
on whenthisAtomicAge is ancienthistory.Why?
century
writers,
JamesHowellwrote:"Theirletters
Becauseimagination
is the onecommonlinkbetween
may
be
said
to
be
likebodieswithoutsinews,they
humanmindsin allages.
haveneither
artnorarteries
in them.’
Imagination
in writing
findsexpression
through
the
A letter
inwhichsomething
significant
is attempted
use of accurateand illuminating
equivalents
for
-- a sale,a correction,
a changing
of opinion,
the
thoughts.
You mayshowyourimagination
by dealing
makingof a friend-- cannotbe written
in a neutral
withsomething
unfamiliar;
by callingto attention
andbloodless
stateofmind.
a commonplace
factthatis generally
overlooked;
by
imagination
mustsupplypersonal
bringing
intoviewfamiliar
things
in newrelationship; In letterwriting,
Whenyoucallin yourstenographer
to write
or by drawing
together
relevant
thoughts
in a nosegay contact.
a letteryouareentering
intoa personal
relationship
tiedwithyourownribbon.
withthereader.
He is no longer
a statistic
ina mass
An imaginative
writercanlookoutuponthesprawl- market.He and youare humanbeingstalkingthings
ingincoherence
of a factory
or a cityor a nation
or a
over.
problem
andgiveit intelligible
statement.
Mostbusiness
communications
havelucidity
rather
thanemotion
as theiraim,butnoneexcept
thosewhich
Something
aboutstyle
andopenlymerecatalogues
canaffordto
Thestylein whichyouwriteis thelivingembodi- arefrankly
exclude
humanity.
There
should
be
some
in-between
mentofyourthought,
andnotmerely
itsdress.
spacein yourletters,
somesmall-talk
betweenthe
Whenyou putwordstogether
you conveynot only
important
ideas,someirrelevancies
whichtemperthe
yourpurpose
in writing
butyourcharacter
andmood,
austerity
ofbusiness.
bothof whichareimportant
to yourreader’s
underThereader’s
interest
standing.
No matter
whatyourletter
is about,
thereader
will
Lettheoccasion
dictate
themanner
of yourwriting.
want
to
know:
"How
does
this
affect
me?"
Sometimes
a manlyroughline,witha greatdealof
meaning
in it,maybe needed,
whilea different
setof
It is a literary
vicenotto seekoutthereader’s
circumstances
demands
thelubrication
of sweetwords.
interest.
Youmaytellhimwhatyouwantin impeccable
A blinding
light
isnotalways
the.best
illumination:
the
language
andforceful
manner,
butyoufallshortofsucdelicate
colours
in moss-covered
rockareenhanced
by
cessunlessyoupayattention
to whathe wantsor can
overcast,
mistyair.
be madeto desire.
Yourideasmustenter,influence
andstickin themindof therecipient.
Knowledge
of techniques
doesnot givethewriter
As a writer,
youmayprotest
thatsomeof thefailure
thisdiscrimination.
Technique
is alwaysa meansand
in communication
maybe blamedon thereceiver,
but
notan end.Ifwe allowrulesto govern
ourwriting
we
it
is
your
responsibility
as
sender
to
determine
in
becometongue-tied
by authority.
As Rembrandt
readvance,
to
the
best
of
your
ability,
all
potential
causes
markedto someonewho waslookingcloselyintoone
of failure
andto tuneyourtransmission
forthebest
of hispaintings,
seeking
thetechnique,
"pictures
are
reception.
intended
to be looked
at,notsmelled."
Granted,
something
mustbe expected
of thereader.
Everywriteris entitled
to demand
a certain
amount
of
knowledge
in thoseforwhomhe writes,
anda certain
degree
ofdexterity
in usingtheimplements
ofthought.
Readerswhodemandimmediate
intelligibility
in all
theyreadcannot
hopeto go farbeyond
thelimitations
of comicstriplanguage.
However,the writeris boundto eliminate
every
possible
obstacle.
He mustnotgrowawayfrompeople.
He mustanticipate
theirquestions.
Letthesalesman
standat a bargain
counter
andlisten
to whatgoeson
in themindsof prospective
customers.
He willsee
women who spend ten minutes examiningsocks
advertised
at 35 centsa pair-- do theystretch?
are
theywashable?
willtheystaysoft?are theytough
enoughto wearlong?Thosewomenarenot up on the
plateau
of bulksales,butdownwherea nickel
counts.
Thatis theimagination
of preparation.
Thencomes
the imagination
of expression.
The mostimportant
demandof customers
is forfriendliness
in thosewho
seekto do business
withthem.A manmaypridehimself
uponbeingan efficient,
logical
person,
unswayed
by
sentiment
inbusiness
matters,
butat somestagein his
everybusiness
dealthereisa sparkof emotional
appeal
andresponse.
You needto studyyouraudienceand thenwrite
whatyouwantthemto understand
in theformthatis
mostlikely
toappeal
to them.Anyothercourse
is like
thechildish
custom
of writing
a letter
to SantaClaus
andburningit up the chimney.
didnotdesire
it,whenhis"blood,
toil,
tears
andsweat"
echoedGaribaldi,
or whenhisfirstspeechas Prime
Minister,declaring
it to be his policy"to make
war", echoedClemenceau’s
"Je fais la guerre."
Shakespeare
tookhisplotswherever
hecouldfindthem,
fromolderplays,Englishchronicles
andPlutarch’s
Lives.
Hisoriginality
consisted
in theskillwithwhich
he madea storyoverand coveredthe skeleton
with
theliving
fleshofhislanguage.
If a manhasvisionandsympathy
-- ingredients
of
imagination
-- andaddssincerity,
he willbe ableto
beautifythe familiarand illuminethe dingyand
sordid.
Montaigne
oneof theworld’s
greatessayists,
said:"I gatherthe flowersby the wayside,
by the
brooksandin themeadows,
andonlythestringwith
whichI bindthemtogether
is my own."
Variety
in expression
is as necessary
to a pieceof
written
matter
as it is toan attractive
bouquet.
Monotonyina letter
islikea paralyzing
frost.
TheGreeks
knewthis:theysetofftheloveliness
of
rosesandviolets
by planting
themsideby sidewith
leeksandonions.
Somefastidious
or critical
people
maycomplain
of unevenness
in yourwritingbecause
itis notsustained
at a peak.Butthereis noonemore
tiresome
thanthe manwho is writingalwaysat the
topofhisvoice.
Usewordshonestly
Theeffort
to bringup thehighlights
mustnotblind
us to ourobligation
to be moderate.
To be dynamic
andforceful
we don’tneedto givetheimpression
of
breathlessness.
Strongwordslosetheirforceif used
Giveimagination
wings
Don’tsay"theroofis falling
in"whenyoumean
If youdonotwishyourletters
to bereadyawningly, often.
that
a
crack
in
the
ceiling
needs
patching.
If you
writethemwideawake.Whena goodideastrikesyou
habitually
term
a
dull
party
"a
disaster"
what
have
fora letter,
ridethatideaon thedeadrun:don’twait
you
left
that
is
vivid
enough
to
cover
your
feelings
about
to ponder,
criticize
andcorrect.
Youcanbe critical
an earthquake?
afteryourimaginative
spellsubsides.
Fromthemomentthata writerloseshisreverence
Thesearch
fortheexactwordshould
neverso usurp
forwordsas accurate
expressions
of histhoughts
he
thewriter’s
attention
thatthe largermovements
of
becomes
second-rate.
Evenexperienced
writers
testify
thoughton whichthe letter’s
argument
dependsare
to their
constant
search
fortherightword.
madetofalter
andsolosetheir
fire.Thefirstdraft
of
a pieceof writing
shouldbe doneat whiteheat.The
Followthespiritof whatyouaresaying
in theway
smoothing
andpolishing
mayfollowlater.
youwrite
it.Sometimes
youwilluselittle,
jolting,
onesyllable
words;
in
another
composition
your
meaning
Somedegreeof novelty
mustbe oneof thematerials
and feelingmay be conveyedbetterin cascading
in everyinstrument
whichworksuponthemind.
syllables
likeMilton’s,
orin earthy
wordsthatfitthe
By"novelty"
it isnotmeant
thattheletter
should
be
urgency
of theoccasion.
artificial.
Great
artconsists
inwriting
inaninterested
Thereis no better
wayto learnthefeeling
of words
andstraightforward
way.
thanthrough
readingpoetry.
Theuse of synonyms
so
necessary
in
poetry
gives
us
a
grasp
of
language
and
A goodwriter
is notalways
original.
Youcannot
hope
readiness
in its use.Exercise
yourimagination
by
to reproduce
in yourownwordshowKeatsfeltas he
lookingup the widechoicesof wordsmeaningthe
listened
tothenightingale
singing.
Itis farbetter
to
same thing,in varyingshades of strengthand
copyhisode.Mr.Churchill
could
nothelpit,evenif he
attractiveness.
A handybookto haveon yourdeskis .4
Dictionary
ofEnglish
Synonyms
by Richard
Soule(Little,
Brown,and Company,Boston).
Be careful
to usequalifying
wordsonlywherethey
contribute
something
to thesenseyouwishto convey.
Anexcessive
useofqualifiers
vitiates
theforce
of what
youwrite.
Background
for imagination
If theimagination
is to yieldanyproduct
useful
to
thewriter,
it musthavereceived
material
fromthe
external
world.
Images
donotspring
outof a desert.
Thewriter
willtrainhismindto roam,to seekfood,
to experience
events.
He willreadwidely,
observing
wordsat workin a multitude
of combinations.
A library
hasevocative
power.Merely
to sitwithin
Correct
modification
is an essential
of perceptive
in one.A
accuracy,
butever),modification
meansa deflection viewof goodbooksdrawsout thegoodness
libraryhasdrivingpower,too:it challenges
us to
in thereader’s
flowofunderstanding.
convey
meanings
andfeelings
as thesewriters
did.
To testthis,takesomemagazine
whichprofesses
Thebooksinan executive’s
office
should
notconsist
topopularize
newsevents,
andstrike
outevery
adjective
solely
of
directories,
almanacs,
Canada
Year
Book,and
and adverbwhichseemsdispensable
notehow much
the
like.
In
literature
are
recorded
all
the
thoughts,
moreauthoritative
and lesstintedby opinionthe
feelings,
passions,
and
dreams
that
have
passed
through
itemsappear.
thehumanmind,andthesecanplaytheirpartin the
Thebusiness
manshouldtestbusiness
reports
and
efficiency
oftheletter
writer
today.
Evenonthebattleletters
by asking
"Whatomission
of factor skimping
of
field,
Napoleon
hadin histentmorethanthreehundred
research
or expression
of prejudice
doesthisadjective volumes
ranging
through
science,
art,history,
poetry,
coverup?"
travels,
romance
andphilosophy.
To do all thathas beensuggested
takestime.It
Pictures
in words
requires
preparation,
practice
andparticipation:
preOurwriting
creates
pictures
in thereader’s
mind.We
paration
through
reading
andstudy,practice
through
use metaphorsto sharpenand extendthe reader’s
revising
and rewriting,
and participation
through
understanding
of our ideasby presenting
him with
putting
something
of yourself
intoeveryletter.
imagesdrawnfromthe worldof sensoryexperience:
We mustgetout of the vicioussystemwherebywe
"Shehasrosesin hercheeks;
he hastheheartof a
spend
a forenoon
verifying
thepriceto be quoted
to a
lion."
Ifwesaythata brook
islaughing
inthesunlight,
customer,
while
refusing
to
spend
two
minutes
in
reconan ideaof laughter
intervenes
to symbolize
thesponstructing
a clumsy
sentence
intheletter
wewritehim.
taneous,
vividactivity
ofthebrook.
To be slovenly
andfeebleis notonlydiscourteous
to
because
it
In 240wordsofa single
soliloquy
ofHamlet,
Shakes- thepersonswe addressbutbadbusiness,
leavesthedooropenformisunderstanding.
pearegivesus theseimaginative
phrases,
nowpartof
oureveryday
language:
to be or notto be,thelaw’s
If youaregoingto describe
an eventor a product,
delay,
theinsolence
ofoffice,
theundiscover’d
country do not be contentwithblackmarkson whitepaper:
fromwhosebourne
no traveller
returns,
theslings
and
atleaststipple
in thebackground
andusesomecolour
arrowsof outrageous
fortune,’tisa consummation intheforeground.
devoutly
to bewish’d,
there’s
therub,shuffled
offthis
It is necessary,
too,to be in earnest.
Manypeople
mortal
coil,conscience
dothmakecowards
of us all.
dreamawaytheirlives,talkingof the writing
they
mean
to
do,
and
in
the
end
they
fall
asleep,
still
Metaphors
arenotconfined
to poeticwriting:
they
babbling
ofthegreen
fields
ofliterature.
occurin science
andbusiness
writing,
too:theflowof
electricity,
thestream
of consciousness,
thethinking
If youmakeonlyaverage
grades
inyourletters
when
machine,
getting
attherootoftheproblem,
falling
into
youcould
witha little
effort
toptheclass,
youarebound
error,
indulging
in mental
gymnastics.
tobedisappointed
withyourself.
Thewriting
of letters,
business
orpersonal
orprofessional,
isnomeanministry.
Localcolouris an element
in imaginative
writing.
Itdeserves
thebestthatcanbegiven
it,andwhenitis
Yourhighlights
andyourexpressive
phrasesdo not
rightly
doneit absorbs
themindwholly.
haveto comefromtheclassics.
A goodwriter,
evenon
Whynotbe oneof theknowledgeable
eliteinstead
themostprosaic
oftopics,
willmixhisownmindwith
average?
hissubject.
Trueimagination,
no matterhowstrange of oneof theconforming
maybe theregions
intowhichit lifts
itshead,hasits
Theyare probablybestwho,havinga subjecton
sit downto
rootsin humanexperience.
Whatarisesinyourwriting whichtheywishto expressthemselves,
fromwhatyouhavebeenthroughwillbe morevivid
writeaboutit in a lovingway.As Cyranode Bcr~erac
hisgenius:
"Ihavebutto laymy soulbeside
thanwhatyougleanfromthewritings
andexperience described
my paper,and copy!"
ofothers.
Authorized
as second
c/assmail.
PostOfficeDepartment,
Ottawa’
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