The Oxford Essential Guide to Writing.pdf - alexandriaesl

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12 INTRODUCTION Here we use style to mean something between those extremes. It will be a positive term, and while we speak of errors in style, we don't speak of "bad styles." On the other hand, we understand "style" to include many ways of writing, each appropriate for some purposes, less so for others. There is no one style, some ideal manner of writing at which all of us should aim. Style is flexible, capable of almost endless variation. But one thing style is not: it is not a superficial fanciness brushed over the basic ideas. Rather than the gilding, style is the deep essence of writing. For Practice t> Selecting one of the topics you listed at the end of Chapter 1, work up a paragraph of 150 to 200 words. Before you begin to write, think about possible strategies of organization and tone. Organization involves (1) how you analyze your topic, the parts into which you divide it, and (2) the order in which you present these parts and how you tie them together. Tone means (1) how you feel about your subject—angry, amused, objective, and so on; (2) how you regard your reader—in a formal or an informal relationship; and (3) how you present yourself. When you have the paragraph in its final shape, on a separate sheet of paper compose several sentences explaining what strategies you followed in organizing your paragraph and in aiming for a particular tone, and why you thought these would be appropriate.
CHAPTER 3 Grammar, Usage, and Mechanics Purpose, strategy, and style are decided by you. But the decision must be made within limits set by rules over which you have little control. The rules fall into three groups: grammar, usage, and mechanics. Grammar Grammar means the rules which structure our language. The sentence "She dresses beautifully" is grammatical. These variations are not: Her dresses beautifully. Dresses beautifully she. The first breaks the rule that a pronoun must be in the subjective case when it is the subject of a verb. The second violates the conventional order of the English sentence: subjectverb-object. (That order is not invariable and may be altered, subject to other rules, but none of these permits the pattern: "Dresses beautifully she.") Grammatical rules are not the pronouncements of teachers, editors, or other authorities. They are simply the way people
Page 5 and 6: Thomas S. Kane
Page 7 and 8: Acknowledgments This book is based
Page 9 and 10: 8 CONTENTS 15. Paragraph Developmen
Page 11 and 12: Introduction Two broad assumptions
Page 13 and 14: CHAPTER 1 Subject, Reader, and Kind
Page 15 and 16: SUBJECT, READER, AND KINDS OF WRITI
Page 17 and 18: CHAPTER 2 Strategy and Style Purpos
Page 19: STRATEGY AND STYLE 11 cause we want
Page 23 and 24: GRAMMAR, USAGE, AND MECHANICS I 5 s
Page 25 and 26: PART I The Writing Process Writing
Page 27 and 28: CHAPTER 4 Looking for Subjects Peop
Page 29 and 30: LOOKING FOR SUBJECTS 21 to write ab
Page 31 and 32: CHAPTER 5 Exploring for Topics Befo
Page 33 and 34: EXPLORING FOR TOPICS 25 or two or t
Page 35 and 36: EXPLORING FOR TOPICS 27 For Practic
Page 37 and 38: CHAPTER 6 Making a Plan You've chos
Page 39 and 40: MAKING A PLAN 31 ward sex, love, an
Page 41 and 42: MAKING A PLAN 33 important. A scrat
Page 43 and 44: DRAFTS AND REVISIONS 3 5 There is a
Page 45 and 46: DRAFTS AND REVISIONS 37 lapses of c
Page 47 and 48: DRAFTS AND REVISIONS 39 The point i
Page 49 and 50: DRAFTS AND REVISIONS 41 only one si
Page 51 and 52: CHAPTER 8 Beginning An essay is a r
Page 53 and 54: BEGINNING 47 for instance, ought no
Page 55 and 56: BEGINNING 49 the desperate repetiti
Page 57 and 58: BEGINNING 51 (the paragraph opens t
Page 59 and 60: BEGINNING 53 veyor of old lines in
Page 61 and 62: BEGINNING 5 5 is the cryptic beginn
Page 63 and 64: BEGINNING 57 Still another entertai
Page 65 and 66: BEGINNING 59 For Practice > In abou
Page 67 and 68: CLOSING 61 word or phrase prominent
Page 69 and 70: CLOSING 63 when the thin whine of h
Page 71 and 72:
CLOSING 65 Summation and Conclusion
Page 73 and 74:
CHAPTER 10 Organizing the Middle Ju
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ORGANIZING THE MIDDLE 69 And the fo
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ORGANIZING THE MIDDLE 71 apparently
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ORGANIZING THE MIDDLE 73 gence" and
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POINT OF VIEW, PERSONA, AND TONE 75
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POINT OF VIEW, PERSONA, AND TONE JJ
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POINT OF VIEW, PERSONA, AND TONE J9
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Page 89 and 90:
Page 91 and 92:
Page 93 and 94:
90 THE EXPOSITORY PARAGRAPH paragra
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92 THE EXPOSITORY PARAGRAPH [5] Thi
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94 THE EXPOSITORY PARAGRAPH [4] Muc
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96 THE EXPOSITORY PARAGRAPH topic y
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98 THE EXPOSITORY PARAGRAPH establi
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IOO THE EXPOSITORY PARAGRAPH Linkin
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IO2 THE EXPOSITORY PARAGRAPH The tr
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IO4 THE EXPOSITORY PARAGRAPH Syntac
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CHAPTER 14 Paragraph Development: (
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IO8 THE EXPOSITORY PARAGRAPH As far
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110 THE EXPOSITORY PARAGRAPH with c
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112 THE EXPOSITORY PARAGRAPH A more
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CHAPTER 15 Paragraph Development: (
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Il6 THE EXPOSITORY PARAGRAPH of nee
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118 THE EXPOSITORY PARAGRAPH Buildi
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I2O THE EXPOSITORY PARAGRAPH and bu
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122 THE EXPOSITORY PARAGRAPH castin
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124 THE EXPOSITORY PARAGRAPH the wo
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126 THE EXPOSITORY PARAGRAPH the fi
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128 THE EXPOSITORY PARAGRAPH sequen
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130 THE EXPOSITORY PARAGRAPH the po
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CHAPTER Paragraph Development: (4)
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134 THE EXPOSITORY PARAGRAPH and so
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I36 THE EXPOSITORY PARAGRAPH Wylie
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138 THE EXPOSITORY PARAGRAPH myself
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140 THE EXPOSITORY PARAGRAPH need t
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142 THE EXPOSITORY PARAGRAPH is com
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144 E EXPOSITORY PARAGRAPH Qualifi
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146 THE EXPOSITORY PARAGRAPH an ent
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PART IV The Sentence
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152 THE SENTENCE The package finall
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I 54 THE SENTENCE a grammatical sen
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156 THE SENTENCE An infinitive phra
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I58 THE SENTENCE of each and remain
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l6o THE SENTENCE Summary 1. A sente
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162 THE SENTENCE to technically sim
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164 THE SENTENCE For Practice > In
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166 THE SENTENCE Instead of being c
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168 THE SENTENCE be repetitive. But
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170 THE SENTENCE possessively upon
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172 THE SENTENCE murmurs, laments,
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174 THE SENTENCE Let every nation k
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176 THE SENTENCE ( / ) or ( / ); so
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178 THE SENTENCE In itself, a love
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l8o THE SENTENCE longer write like
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182 THE SENTENCE The Loose Sentence
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184 THE SENTENCE There is no one fo
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186 THE SENTENCE steady diet of suc
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188 THE SENTENCE how, when they are
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190 THE SENTENCE about what a gramm
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192 THE SENTENCE > Do Not Waste the
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194 THE SENTENCE sentences. Some wr
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l
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198 THE SENTENCE WORDY When you are
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CHAPTER 21 The Well-Written Sentenc
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2O2 THE SENTENCE Finally, last poin
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204 THE SENTENCE Consider, for exam
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2O6 THE SENTENCE Periodic sentences
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2O8 • THE SENTENCE Although conve
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2IO THE SENTENCE Emphasis Within th
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212 THE SENTENCE must depend on inv
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214 THE SENTENCE If the King notifi
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2l6 THE SENTENCE is marked by a com
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218 THE SENTENCE you draw the reade
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22O THE SENTENCE forms. In ancient
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222 THE SENTENCE Other devices of m
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224 THE SENTENCE voice. Rhythm base
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226 THE SENTENCE pattern at all can
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228 THE SENTENCE Mimetic Rhythm Mim
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230 THE SENTENCE Smoke lowering fro
Page 233 and 234:
232 THE SENTENCE however, one must
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CHAPTER 23 The Well-Written Sentenc
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236 THE SENTENCE and verb; in the s
Page 239 and 240:
238 THE SENTENCE primary purpose is
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PART V Diction
Page 243 and 244:
244 DICTION of "uninterested," and
Page 245 and 246:
246 DICTION They're not worth their
Page 247 and 248:
Often, though not inevitably, conno
Page 249 and 250:
250 DICTION flavor printed on an ic
Page 251 and 252:
25 2 DICTION charged in such a cont
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DICTION In selecting his or her wor
Page 255 and 256:
Z$6 DICTION they differ, what degre
Page 257 and 258:
258 DICTION understanding we shall
Page 259 and 260:
260 DICTION the circles representin
Page 261 and 262:
CHAPTER 25 Clarity and Simplicity T
Page 263 and 264:
264 DICTION If you deal with ideas,
Page 265 and 266:
266 DICTION Hardy's poem allows the
Page 267 and 268:
268 DICTION Connotation The connota
Page 269 and 270:
27O DICTION Awkward shifts are comm
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zyi DICTION Colloquial and Pretenti
Page 273 and 274:
274 DICTION or to imply a subtlety.
Page 275 and 276:
276 DICTION originally meant the tw
Page 277 and 278:
278 DICTION writes about the ill ef
Page 279 and 280:
280 DICTION At the top of the hill
Page 281 and 282:
282 DICTION is an attempt to cast a
Page 283 and 284:
284 DICTION Nucleonics investigates
Page 285 and 286:
286 DICTION t> Specificity Means Co
Page 287 and 288:
288 DICTION All the italicized word
Page 289 and 290:
290 DICTION Sometimes an idea is cl
Page 291 and 292:
292 DICTION "thereby taking his own
Page 293 and 294:
294 DICTION But when there is no qu
Page 295 and 296:
296 DICTION paragraph, and even tot
Page 297 and 298:
2?8 DICTION Cold air is heavy; as p
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3OO " DICTION Emotional connotation
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3
Page 303 and 304:
304 DICTION Many metaphors use syne
Page 305 and 306:
306 DICTION Finally, metaphors may
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308 DICTION Dillard. For instance o
Page 309 and 310:
310 DICTION elements of silver, gol
Page 311 and 312:
312 DICTION More often the referenc
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314 DICTION In our end of time the
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316 DICTION the emotions focused th
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318 DICTION timorous, sniveling, po
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320 DICTION The people for miles ar
Page 321 and 322:
322 DICTION Joanna, pursued by the
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324 DICTION The lemon groves are su
Page 325 and 326:
326 DICTION Unusual Words Often a s
Page 327 and 328:
328 DICTION Tires booped and whoose
Page 329 and 330:
330 DICTION ... no birdsong splinte
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33^ DICTION That unlikely sentence
Page 333 and 334:
334 DICTION The line between formal
Page 335 and 336:
CHAPTER 29 Improving Your Vocabular
Page 337 and 338:
338 DICTION give. We'll look at two
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'hab • it \ 'hab-9t \ n [ME, fr.
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wake 1 (wak) v. woke (wok) or rare
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344 DICTION I Usage: The verbs wake
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34 DICTION between exact and near s
Page 347 and 348:
PART VI Description and Narration
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352 DESCRIPTION AND NARRATION the p
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354 DESCRIPTION AND NARRATION First
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356 DESCRIPTION AND NARRATION neith
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358 DESCRIPTION AND NARRATION wagon
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360 DESCRIPTION AND NARRATION when
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362 DESCRIPTION AND NARRATION of th
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364 DESCRIPTION AND NARRATION The n
Page 363 and 364:
CHAPTER 31 Narration A narrative is
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368 DESCRIPTION AND NARRATION his s
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37° DESCRIPTION AND NARRATION When
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37* DESCRIPTION AND NARRATION nor p
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374 DESCRIPTION AND NARRATION Akrig
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}j6 DESCRIPTION AND NARRATION The o
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Introduction The Purpose of Punctua
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INTRODUCTION 381 For example, a dec
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CHAPTER Stops 32 The Period The per
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STOPS 385 Indirect Questions Indire
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STOPS 387 PERIOD, QUESTION MARK, AN
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STOPS 389 inability to express what
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STOPS 391 following sentence is an
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STOPS 393 The search was fruitless.
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STOPS 395 It [history] is a story t
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STOPS 397 B. Optional punctuation I
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STOPS 399 optional between the fina
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STOPS 4OI When two or more adjectiv
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STOPS 403 > The Comma with Adverbia
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STOPS 405 In writing these signals
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STOPS 407 the first word of the fol
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STOPS 409 A. Initial position: usua
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STOPS 411 should be preceded by a c
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STOPS 413 But when more or less is
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STOPS 415 Notice, in the last examp
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Chapter 33 The Other Marks In addit
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THE OTHER MARKS 419 Reynold's paint
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THE OTHER MARKS 421 confusing with
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THE OTHER MARKS 423 This rule appli
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THE OTHER MARKS 425 Some years late
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THE OTHER MARKS 427 treated differe
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THE OTHER MARKS 429 Many of winter'
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THE OTHER MARKS 43 I It is consider
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THE OTHER MARKS 433 Few of us think
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THE OTHER MARKS 43 J ken, the first
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THE OTHER MARKS 437 Institutions an
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44© NAME INDEX Carson, Rachel, 228
Page 437 and 438:
442 NAME INDEX O'Neill, Eugene, 306
Page 439 and 440:
Subject Index Abbreviations, 383 Ab
Page 441 and 442:
SUBJECT INDEX 447 Dead metaphor, 27
Page 443 and 444:
SUBJECT INDEX 449 Onomatopoeia, 328
Page 445:
SUBJECT INDEX 45 1 Specification, a
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