“Style ought to prove that one believes in an idea; not only that one thinks it but also feels it.”
More than a century before Elmore Leonard’sten rules of writing inspired similar sets of commandments by Neil Gaiman, Zadie Smith, and Margaret Atwood, one of humanity’s greatest minds did precisely that. Between August 8 and August 24 of 1882, Friedrich Nietzsche set down ten stylistic rules of writing in a series of letters to the Russian-born writer, intellectual, and psychoanalyst Lou Andreas-Salomé — a woman celebrated as the “muse of Europe’s fin-de-siècle thinkers and artists,” to whom Rainer Maria Rilke would later come to write breathtaking love letters. Smitten with 21-year-old Andreas-Salomé, Nietzsche decided to make her not only his intellectual protégé, but also his wife, allegedly proposing marriage at only their second meeting earlier that year. Despite Andreas-Salomé’s rejection of his romantic advances and the subsequent break in the friendship, she retained a lifelong respect for his mind and work. More than two decades later, she included his ten rules of writing in Nietzsche (public library) — her superb study of Nietzsche’s personality, philosophy, and psyche.
Collected under the heading “Toward the Teaching of Style,” they read:
- Of prime necessity is life: a style should live.
- Style should be suited to the specific person with whom you wish to communicate. (The law of mutual relation.)
- First, one must determine precisely “what-and-what do I wish to say and present,” before you may write. Writing must be mimicry.
- Since the writer lacks many of the speaker’s means, he must in general have for his model a very expressivekind of presentation of necessity, the written copy will appear much paler.
- The richness of life reveals itself through a richness of gestures. One must learn to feel everything — the length and retarding of sentences, interpunctuations, the choice of words, the pausing, the sequence of arguments — like gestures.
- Be careful with periods! Only those people who also have long duration of breath while speaking are entitled to periods. With most people, the period is a matter of affectation.
- Style ought to prove that one believes in an idea; not only that one thinks it but also feels it.
- The more abstract a truth which one wishes to teach, the more one must first entice the senses.
- Strategy on the part of the good writer of prose consists of choosing his means for stepping close to poetry but never stepping into it.
- It is not good manners or clever to deprive one’s reader of the most obvious objections. It is very good manners and very clever to leave it to one’s reader alone to pronounce the ultimate quintessence of our wisdom.
These commandments are obviously rather aphoristic. In fact, unlike Susan Sontag, who vehemently denounced it, both Nietzsche and Andreas-Salomé had a fondness for aphorism. Beneath the list, Andreas-Salomé reflects on Nietzsche’s style in light of his aphoristic predilection:
To examine Nietzsche’s style for causes and conditions means far more than examining the mere form in which his ideas are expressed; rather, it means that we can listen to his inner soundings. [His style] came about through the willing, enthusiastic, self-sacrificing, and lavish expenditure of great artistic talents … and an attempt to render knowledge through individual nuancing, reflective of the excitations of a soul in upheaval. Like a gold ring, each aphorism tightly encircles thought and emotion. Nietzsche created, so to speak, a new style in philosophical writing, which up until then was couched in academic tones or in effusive poetry: he created a personalized style; Nietzsche not only mastered language but also transcended its inadequacies. What had been mute, achieved great resonance.
Her Nietzsche is a magnificent read in its entirety. For more advice on writing, see Kurt Vonnegut’s 8 rules for writing with style, Henry Miller’s 11 commandments, Susan Sontag’s synthesized wisdom, Chinua Achebe on the writer’s responsibility and the collected advice of great writers.