Everyone uses clichés to some extent when they speak. They stick in our brains and it’s easier to let them out rather than try to think up some other descriptive phrase. If you listen to AJ Jackson tell a story, it won’t be long before you notice her use of clichés – phrases like, “yelled to high heaven,” “turn them out like clockwork,” and “drive like a bat out of hell.”
In normal conversation, clichés are fine, and in writing dialogue it’s also acceptable if that’s how a particular character speaks. But in narrative, using a cliché to describe something is considered lazy writing. Coming up with an alternative to a cliché can take some thought, but doing so makes a piece of writing unique and more fulfilling to the reader.
For This New Mountain, I broke the rules a bit in regards to clichés. But if I didn’t include these kinds of common phrases as part of the narrative voice, the memoir just wouldn’t have been true to AJ. It wouldn’t have sounded at all like she was the one telling her stories. In this case, the way she talks and her internal dialogue are unique to her, clichés and all.
Another choice I made in breaking writing rules had to do with sentence structure. We’re taught in school that run-on sentences and sentence fragments are bad, bad, very bad. Again, in dialogue it’s normal. I did away with the run-ons, but I included sentence fragments in the book to make it consistent with AJ’s way of speaking. Sentence fragments also work great when trying to make a point, build tension, or move through an action scene. In the following excerpt from the chapter “Gone in Six Seconds,” one of AJ’s helpers has just talked AJ into letting her “steal” a repo, and AJ is watching and waiting from her car parked outside the owner’s house:
Cherise nodded her head, closed her eyes for just a second, took a deep breath, and jumped out of the car. I started counting.
One thousand one. Cherise was at the end of the driveway. One thousand two. She was at the driver’s door. One thousand three. She put the key in the lock. One thousand four. She was in the pickup. One thousand five. Still in the truck. One thousand six. No engine turned over. Faster, Cherise! I glanced at the light in the window. Nothing seemed to be moving inside the house. One thousand seven. The engine was still silent. One thousand eight. Now I knew something was wrong for sure.
From an early age, we’re taught that breaking the rules is wrong and can lead to some unwelcome consequences – traffic laws are in place for good reasons. If the rules are broken too often in a piece of writing, it can be distracting to the reader, but when it’s done with intent, it adds flavor to the writing.
Do clichés drive you batty? Is there something you’re willing to overlook in a story because the rest of it is so engaging?