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C O N T E N T S [ v i i 1 1 . D o n o t e x p l a i n t o o m u c h . 7 5 12. Do not construct awkward adverbs. 75 13. Make sure the reader knows who is s p e a k i n g . 7 6 1 4 . A v o i d f a n c y w o r d s . 7 6 15. Do not use dialect unless your ear is g o o d . 7 8 1 6 . B e c l e a r . 7 9 1 7 . D o n o t i n j e c t o p i n i o n . 7 9 18. Use figures of speech sparingly. 80 19. Do not take shortcuts at the cost of c l a r i t y . 8 0 2 0 . A v o i d f o r e i g n l a n g u a g e s . 8 1 21. Prefer the standard to the offbeat. 81 A F T E R W O R D 8 7 G L O S S A R Y 8 9 I N D E X 9 7
Foreword by Roger Angell The first writer I watched at work was my stepfather, E. B. White. Each Tuesday morning, he would close his study door and sit down to write the "Notes and Comment" page for The New Yorker. The task was familiar to him—he was required to file a few hundred words of editorial or personal commentary on some topic in or out of the news that week—but the sounds of his typewriter from his room came in hesitant bursts, with long silences in between. Hours went by. Summoned at last for lunch, he was silent and preoccupied, and soon excused himself to get back to the job. When the copy went off at last, in the afternoon RFD pouch—we were in Maine, a day's mail away from New York—he rarely seemed satisfied. "It isn't good enough," he said sometimes. "I wish it were better." Writing is hard, even for authors who do it all the time. Less frequent practitioners—the job applicant; the business executive with an annual report to get out; the high school senior with a Faulkner assignment; the graduate-school student with her thesis proposal; the writer of a letter of condolence—often get stuck in an awkward passage or find a muddle on their screens, and then blame themselves. What should be easy and flowing looks tangled or feeble or overblown—not what was meant at all. What's wrong with me, each one thinks. Why can't I get this right?
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Glossary adjectival modifier A word
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REFERENCE $7.95 Strunk and white Th
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