Of them all, it can be said without exception that they acquired their skill at self-expression by sustained practice which was part of a self-imposed training in the interests of furthering their military efficiency. No one of them was a born writer. There is no such thing. Nor did any one of them owe his abilities as a writer to any other person. Writers are self-made. But it is a reasonable speculation that history might never have heard of the greater number of these men had they not worked sedulously to become proficient with the pen as well as with the sword. Granting that they had other sound military qualities in the beginning, an acquired ability to express themselves lucidly and with force became a touchstone to preferment. The same thing holds true of their celebrated military contemporaries almost without exception. Even those who had no public reputation for authorship, and would have been ill at ease if called upon to speak to an average audience, knew how to use the language in presenting their thoughts to their staffs and their troops, whether the occasion called for a succinct operational order, a doctrinal exposition or an inspirational message on the eve of battle.
Wherever one looks, the same precept may be noted. It was not coincidence merely, but related cause and effect, that Ferdinand Foch was one of the ablest military writers of the twentieth century before he won immortality on the field of war, that the elder von Moltke was as skilled with ink as with powder, and that we still marvel at the picture of the great von Steuben dictating drill manuals far into the night so that there would be greater perfection in his formations on the following day. The command of language was one of the main sources of their power over the multitude.
As it was with these commanders, so it is with leadership at every level: Men who can command words to serve their thoughts and feelings are well on their way to commanding men to serve their purposes.
All senior commanders respect the junior who has a facility for thinking an idea through and then expressing it comprehensively in clear, unvarnished phrases. Moreover, even when they are stilted in their own manner of expression, they will warm to the man whose style achieves strength through its ease and naturalness. They will quickly make note of any young officer who is making progress in this direction and will want to have him around. He is a rare bird in the services, and for that reason his opportunities are far above the average. Staff work could not be carried forward at any of its levels if it were not for this particular talent, and command would lose a great part of its magnetism.
Toward the building of a career, the best break that can come to any young man is to have three or four places bidding simultaneously for his services. There are possibly better arguments than that as to why perfection in writing should be a main pursuit of the service officer, such as the sense of personal attainment which comes of it.
Any man who has the brain to qualify for commission can make of himself a competent writer. Because of natural limitations, he may never come to excel in this art. But if he has had average schooling, knows how to open a dictionary, can find his way to a library, is willing to commit himself to long study and practice, particularly in nonduty hours, and will finally free himself of the superstition that writing is a game only for specialists, he can acquire all the skill that is necessary to further his advance within the military profession.
That is the great difference between writing ability and specialized knowledge in such fields as electronics and atomic research.
But where should work begin? How about a little practical advice?
The only way to learn to write is to write. That is it—there is no other secret than hard, unremitting practice. Most writers at the start are mentally muscle-bound, and poorly coordinated. They have thoughts in their heads. They think they can develop them clearly. But when they try to apply a largely dormant vocabulary to the expression of these thoughts, the result is stiff and selfconscious.
The only cure for this is constant mental exercise, with one's pen, or over one's typewriter. After a man has written perhaps a half million relatively useless words there comes, sometimes almost in a flash, and at other times gradually, a mastery not only of words, but of phrases, sentences and the composition of ideas. It is a kind of rhythmic process, like learning to swim, or to row a boat, or navigate an airplane. When a writer has at last conquered his element, his personality and his character can be transmitted to paper. What is said will reflect the force, adaptability, reason and musing of the writer. In fact, the discipline through which one learns to write adds substance to thought, whereby one's ideas are given body and connection. Such common faults as wordiness, overstatement, faulty sentence structure and weak use of words are gradually corrected. With their passing, confidence grows. This does not mean, however, that the task then becomes easy. Though its rewards will increase, good writing continues to be a strain even to the man who does it well. Many celebrated men of letters never get beyond the "sweating" stage, but have to fight their way through a jungle of words, and rewrite almost endlessly, before finding satisfaction in their product.