I've learned a lot about language from reading slush. You can immediately tell if a writer is in control of the narrative. This writer will avoid using too many words like "possibly," "probably," "maybe," "perhaps," etc. He/she will avoid using clichรฉs, as well as a lot of metaphors, and won't take four sentences to say what they could in one (or write a great sentence and follow it up with a bunch of stuff that just weakens it).
Mary J. MillerIt's definitely about the rhythm of the words and how they sound together, writing one sentence and then another and another and cutting something immediately if it doesn't feel true. I come from a family of musicians and - while I have no musical abilities of my own - I think I inherited a good ear.
Mary J. MillerYou don't need a dead father to explain a character's sadness. And impressing yourself with wit/cleverness often feels like what it is - authorial intrusion.
Mary J. MillerTo be quite honest, along with thinking and such when it comes to writing, I'm not into words like "theory." I'm a PhD dropout. No matter how many twenty-five-page papers I wrote, I never felt like I was saying much. I didn't feel like the writer of the book, whose work I was analyzing, would have been impressed. It didn't matter how much time or effort I put in.
Mary J. MillerI think training your instinct comes from writing and reading. There's no big secret. And reading slush helps, as well; I'd recommend everyone edit a literary magazine at some point. It's time-consuming, but there's a lot to learn from other writers who are also learning. The patterns (twelve stories about whales in this batch?) are also interesting.
Mary J. Miller