How to write glorious prose. NOT

Recently, I talked about two very talented writers, Janet Fitch and Juliet Marillier who both write engaging prose that reflect the content of their novels. Ms. Fitch’s prose in WHITE OLEANDER, set in contemporary LA, was suitably hard and edgy. Ms. Marillier’s prose in SON OF SHADOWS, set in 9th-century Ireland, was gorgeous and poetic.

But I’ve also recently read prose that just doesn’t work. And I wanted to show you an example of what I mean. This excerpt comes from Suzanne Weyn’s THE NIGHT DANCE, a re-telling of THE TWELVE DANCING PRINCESSES to which she has added elements of the Arthurian legend of The Lady of the Lake. I thought her retelling of this Grimm’s fairy tale was one of the most interesting versions (and I’ve read several of them recently.) But she really disappointed me with the ending, which seemed rushed, mainly because the quality of the writing was far below that of the rest of the novel. Read the passage below, which comes from the end of the novel, and bear in mind that it is supposed to be set in 5th-century England. I quote:


At the end of the wedding party, Sir Ethan announced that he would be leaving with Vivienne, though they most certainly would be in touch. Any of the girls who wanted to come with them and study mystical ways were welcome…Gwendolyn, Helewise, Chloe, Isolde and Mathilde thought life on Avalon sounded exciting, though.

“Could Ione, Brianna, Bronwyn, Cecily and I stay here at the manor?” asked Ashlynn…we’d like to turn the place into an inn.”

There was a murmur of approval as this seemed like it would be a fun enterprise.


I cringe at expressions such as “would be in touch” “were welcome” “sounded exciting” and “seemed like it would be a fun enterprise.” It seems so insensitive to write Valley Girl or even modern British slang when you’re supposed to be conveying what 5th-century England would feel like.

A lesson in how NOT to write, when you do an historical novel!

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