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" Afterword to “Where Hesperus Falls” Words, words, words are the enemy of a writer. I take great pleasure in simplifying language and sentences whenever I can. If I’ve started something, I write through to the end of the paragraph or section, then go back and prune out whole sentences. I’m pleased if I reach the end having deleted thirty sentences, making the thing tighter without losing any of the impact. Of course, I keep having to go back to make sure that I have the right words and no repetition. Norma catches a lot of this, and it’s a great deal of work. I liked it much better in the old days when I could still see and could assimilate a whole page at a time like other writers do. You mustn’t try too hard to produce effects either. They have to come kind of quietly, sneaking up on you out of the action and feeling. When you want to describe something that’s flamboyant, weird and strange, anything a little bit outrageous, wicked or nasty, you don’t do it by exposition, which can become long-winded and tiresome. You have one of your characters describe it to somebody else. Instead of writing that a man is an evil beast, without a redeeming quality, you have a girl come in out of the cold with her clothes torn and say: ‘I met this fellow, Steve, and he did such and such. That man is a beast. Do you know what he did to Henrietta? He pulled all her hair out.’ I’m exaggerating, but this is almost a trade secret: not having the exposition come from the writer, but rather from the mouths of the characters themselves. So cut those words out. Sometimes you can combine the adjective and the noun into a single notion. Instead of saying there was a horse colored all kinds of different colors, you say a palomino came down the road. —Jack Vance The Phantom Milkman I’ve had all I can stand. "
― Jack Vance , Hard-Luck Diggings: The Early Jack Vance
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" The Magician climbed the stairs. Midnight found him in his study, poring through leather-bound tomes and untidy portfolios … At one time a thousand or more runes, spells, incantations, curses, and sorceries had been known. The reach of Grand Motholam — Ascolais, the Ide of Kauchique, Almery to the South, the Land of the Falling Wall to the East — swarmed with sorcerers of every description, of whom the chief was the Arch-Necromancer Phandaal. A hundred spells Phandaal personally had formulated — though rumor said that demons whispered at his ear when he wrought magic. Pontecilla the Pious, then ruler of Grand Motholam, put Phandaal to torment, and after a terrible night, he killed Phandaal and outlawed sorcery throughout the land. The wizards of Grand Motholam fled like beetles under a strong light; the lore was dispersed and forgotten, until now, at this dim time, with the sun dark, wilderness obscuring Ascolais, and the white city Kaiin half in ruins, only a few more than a hundred spells remained to the knowledge of man. Of these, Mazirian had access to seventy-three, and gradually, by stratagem and negotiation, was securing the others. "
― Jack Vance , Tales of the Dying Earth
