In Zen and the Art of Motorcycle Maintenance, Robert Pirsig writes about classicals and romantics.

Romantics, he explains, see the world but don’t question how it works. They just want it to work. When it doesn’t, they don’t look for or repair the problem. They look for an expert who will fix it for them.

Pirsig’s friend John is a romantic. He owns and rides an expensive motorcycle. Yet he does not know or care to learn how to maintain it.

If it breaks down, he depends on a mechanic to fix it. This works if he can take it to a mechanic. 

But what if he is out in the wilds of Montana, hundreds of miles from home? 

His motorcycle no longer runs. All John can do is to start walking and curse his luck.

Classical thinkers, Pirsig writes, learn what to do. They learn the rules. What works. What doesn’t. 

Their ears are tuned to listen for trouble. They check their engines before they go. They are alert to how their engines sound. They clean spark plugs, tighten drive chains, fix anything needing attention.

They take pride in their ability to spot trouble and care of their motorcycles.

I don’t disagree with Pirsig. I would not want to walk home either.

I think the words amateurs and professionals better describe editors and writers.

Amateurs sit down and write without thinking about word choices, sentence structure or dozens of other things that may need attention. Professionals write, edit and rewrite their work. 

It is both the drudgery and joy of a writer’s life. Professionals learn the rules: 

• Write in the active voice. Subject, verb, predicate. Rewrite passive sentences. 
• Choose words carefully. The difference between the right word and the almost right word is like lightning and the lightening bug, Mark Twain said.
• Use short words. One, two or three syllables. 
• Use short sentences. Short paragraphs. Think.
• When it comes to style, write the way you talk. Keep it simple as you do in telling stories.

Professionals listen to their editors. They constantly read and learn from other writers. 

An editor recently emailed that he liked a story I had written but wanted what happens in a story to change the protagonists  or their points of view emotionally, mentally or spiritually. 

He was advising me on what he wanted. Freelancers know that’s rare. 

Everything I write for him now will give him what he wants. He’ll get a changed protagonist.

Professionals recognize that the first draft is only the first. It will need work. More drafts.

If it’s the best you can do, turn it in. Depend on your editor to question anything that’s not clear.

Freelance writers lack the advantage of editors at their elbows. 

Like motorcyclists, we struggle on alone. We ask a friend or fellow writer to read what we have written. Only then do we make changes and submit it to harried editors combing through their email hoping to find the next Mark Twain.

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Why not give  your stars copies of The Art of Compelling Writing. Volumes 1 and 2 are available at Amazon.com. These books were published to help editors like you teach your reporters how to write well. Proceeds go to adult literacy tutoring. Help us change lives by teaching reading and writing.
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