Cop talk is a gateway drug

werds werds werds
Werds werds werds


This  article, which was found by a link from an site with no other known connections to the article, is thought to be quite illustrative of a counter-productive tendency within a certain community.

Speaking for myself, I would venture to assert that it was indeed exposure to this form of writing and speaking style that gave rise to the increased popularity of what I would deem, to coin a phrase,  “Long-Speak,” if you will.  This form or mode of writing relies heavily at its base on the considered opinion that more words—and words of longer and, shall we say, more rarified usage—lend more meaning to the statements at hand which are being made by the speaker, if you will.

As one, or indeed, all of the people involved, if you will, progresses in this style of executing the writing of a thought or placing words on the page that reflect the thinking of an individual, the reader, or listener, if you will, will notice at some moment in time the marked tendency to repeatedly fall back on entrenched habits and time-worn clichés in terms of the choice of phraseology, as this proven technique has repeatedly shown great success in the explosive growth of what is soon to be known as “content-free elevated diction.”

If you will.

The end result of this continuous upping of the anté vis-a-vis the on-going competition to enhance the putative and nominal importance of what is being said, if you will, while in point of fact ignoring or indeed, if one parses the content being mooted by the writer and/or producer in the harsh light of day, negating the need for content or at any rate, the clear display of what that content may be, per se.  A view might be held by some parties in certain camps that the end result of this was always the intent. That is to say, the objective of this idiom of the writing arts is to artfully obscure the originating motivator for the writing’s existence, and is rather the aggrandizement of the author or voice of the piece, while distancing that self-same entity from any possible repercussions resulting from what content manages to filter through the sieve of the medium and catch in the public eye, if you will.

In such cases as might occur in the form I describe, a fine balance must be artfully struck between the soothingly meaningless tropes expected by the core audience, and some amount of novelty which defines the voice of the writer as unique within the market structure. This gives rise to further twisting of the language, as writers personfully strive to create new but instantly and easily digested terms based on the acceptable limited dictionary of common vacabulatory usages, verbifying nouns, nounifying verbs, and adverbingly adjectiving. Also, sentence fragments, the end of which unnecessary prepositions are put at.

It is this self-same line of thinking which provides both the writer and audience, if you will, with new coinages, per se, while at the same time reambiguizing the terms that the audience might have a glimmer of recognizance of, but not full defination, particularly those of foreign or non-native origin to the audience. These terms are the cookie dough of the language, taking on whatever shape the writer, or word-baker, if you will, decides to impose upon it, and accepted without question by an audience, listener or reader, raised on words that, like sweet foods, are pleasing in the mouth and do no good elsewhere.

Additionally, weak and obvious metaphors—analogies, if you will—become an qualifier of distinguished letterpersonship, as they stand out like a tall mountain against the flat plains of the level of the remainder of the bulk of the writing, in the main, if you will.

But as Knute Rockne once said to Walter Cronkite “Mens rea, Tempora mundi!

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