What makes great prose-- vocabulary, long sentences, vast descriptions, etc.?
i hate all of that. for me it's crisp clear sentences that get to the point without unnecessary adornments or flowery language
Not meming here. Imo, it's being able to describe obscure or complicated yet relatable feelings in precise if unexpected ways, and making the mundane appear as beautiful without sounding cliche or melodramatic. It's all about that balance
>>9044962
Nope.
All you'll end up with is a page of verbal diarrhoea thinking like that.
Less is more, except where the details are significant.
Economy of language is how you know someone understands what they're talking about - they can simplify the idea down to a short, easily understood sentence.
People who beat around the bush are usually playing for time trying to wrap their head around it - so whilst a conversational exchange may be meandering, if you want to actually tell anybody anything you should be direct and clear.
There is no virtue in being misunderstood.
>>9045093
this triggers me hard, not only because it assumes the point of literature (and writing as a whole) is to "be understood" but also because it denies all room for the interpretive and meditative horizons which become accessible through (what might be considered convoluted) language
go fuck yourself, pleb
>>9044962
>What makes great prose-- vocabulary, long sentences, vast descriptions, etc.?
Generally, yes
>>9044962
A sort of expressiveness that comes from the interesting combination of subject matter, form of writing and choice of words. In other words, prose that manages to combine the way a sentence is written and the choice of words in it to paint the subject in an interesting way.
>>9045226
That's like asking what makes great music
Once you've got the core skill down what makes it great is you.
>>9045521
>That's like asking what makes great music
It's actually not.