[stylist] Pertinant and useful info

[Bridgit Pollpeter]

Hello,

Here are some writing rules and tips that are handy.

Bridgit P

Punctuation-Traffic Signals and Road Signs
Punctuation signals the reader about the pattern of the clauses in writing.
Independent Causes
The end of each independent clause must have a signal.
The end of a clause is like an intersection on a roadway. A vehicle driver must stop or pause at most intersection.
The traffic signal for intersection is (1) a red light; (2) stop sign; (3) comma + and/but/or. The punctuation for intersections of independent clauses is (1) [.] [!/?]; (2) [;]; (3) [, and].
Independent clause------------------[end] next independent clause----------------[end]
------------------------------------------[.]-----------------------------------------------[.]
------------------------------------------[;]-----------------------------------------------[.]
--------------------------------------+ coordinator]----------------------------------[.]
• I saw the bear coming toward me. I grabbed my pepper spray and took aim.
• The freshening north wind began to blow; I felt its teeth through my thin jacket.
• He finished studying, and he left the library immediately.
Dependent Clauses
The merge point between a dependent and an independent clause must have a signal. The merge point is akin to an onramp merging with an interstate highway. The vehicle driver must slow or use caution at such intersections.
The traffic signal for cautionary intersections is (1) a yield sign; (2) a flashing yellow light. The punctuation for the merge point of dependent with independent clauses is [,] (comma).
dependent clause---------------[merge] independent clause-------------------[end signal]
[,] [ ]
• When I saw the bear coming toward me, I grabbed my pepper spray.
• As the north wind began to blow, I felt it through my jacket.
• Because he finished studying, Jason left the library immediately.
CAW (computer assisted writing):
• Use Find to search for subordinating words (words that make a clause dependent).
• A short list: as/since/because/when/if/although.
• If one of these words subordinates an introductory clause, you must mark the merge point with the independent clause with a comma.
Voice—Active and Passive
Active Voice
A verb is in the active voice when it expresses an action performed by its subject.
S    V 0 Lightening struck my house, (subject acting)
Passive Voice
A verb is in the passive voice when it expresses an action performed upon its subject. S   V-----V
My house was struck by lightening, (subject receiving action) Formation of the passive voice:
A form of the verb "to be" combines with the past participle form of the main verb in a verb phrase. The main verb is a transitive (action verb).
Inflected forms of "to be"—am, are, is, was, were, been
Past participles—^third principal part of verbs: drop, dropped, dropped; fly, flew, flown Examples of passive rewritten to active voice:
Ask—"who/what is doing what to whom." Make the “who" the subject of the sentence.
"Root Cellar" was written by Theodore Roethke. (Who?) Roethke wrote "Root Cellar."
Nostalgia for rural life is effectively evoked by the nature imagery of Frost's "Birches." (What?) Nature imagery in "Birches" evokes nostalgia for rural life.
The Grammatical test for the Passive Voice;
• main verb used in transitive sense (action)
• form of the verb "to be" used as a helping verb
• past participle is the form of the main verb
Not examples of the passive voice.
• In "Root Cellar," even the dirt was breathing a small breath, (present progressive)
• The dirt was mixed loam, (predicate compliment)
• (However, "the dirt was mixed into loam" is passive.)
Transitions-Compass Headings
Subordinate Conjunctions:
After, although, as, as if, as long as, as though, 3ecause, before, if, in order that, since, so that, than, though, unless, until, when, whenever, where, wherever, while
Coordinate conjunctions:
But, and, or, neither-nor
Conjunctive Adverbs
Accordingly, also, besides, consequently, finally, furthermore, however, incidentally, instead, likewise, meanwhile, moreover, nevertheless, now, otherwise, similarly; still, then, therefore, thus, yet
54. Signal Wards
These are words chat the author uses to tell us how to read. Signal words help us to understand how information is organized and provide clues about what is important. Teach signal words one group at a time. Give your students a few examples from a category and have them add others as they run across them in their reading. In terms of schema theory, signal words tell the reader about the enabling schema, story grammar, or structure. Note that signal, words are independent of the content; they can be used with any kind of article or story.
1. Continuation Signals (Warning—there are more ideas to come.)
and also another
again and finally first of all
a final reason     furthermore in addition
last of all likewise more
moreover next one reason
other secondly similarly
too with
2. Change-of-Direction Signals (Watch out—toe re doubling back.)
although but conversely
despite different from even though
however in contrast instead of
in spite of nevertheless otherwise
the opposite on the contrary on the other hand
rather still yet
while though
3. Sequence Signals (There is an order to these ideas.)
first, second, third A, B, C
in the first place for one thing
then next
before now
after while into (far into the night) until
last during
since always
o'clock on time
later earlier
4. Time Signals (When is it happening?)
when immediately now
lately already little by little
at the same time final after awhile
once during
5. Illustration signals (Here's what that principle means in reality.)
for example specifically
for instance to illustrate
such as much like
in the same way as similar to
6. Emphasis Signals (This is important.)
a major development it all boils down to
a significant factor most of all
a primary concern most noteworthy
a key feature more than anything else
a major event of course
a vital force pay particular attention to
a central issue remember that
a distinctive quality should be noted
above all the most substantial issue
by the way the main value
especially important the basic concept
especially relevant the crux of the matter
especially valuable the chief outcome
important to note the principal item
7. Cause, Condition, or Result Signals (Condition or modification is coming up.)
because if of
for from so
while then but
that until since
as whether in order chat
so that therefore unless
yet thus due to
resulting from     consequently without
8. Spatial Signals (This answers the “where” question.)
between below about left alongside
here outside around close to far
right over away side near
near in into beside
middle next to beyond north
east on opposite over
south there inside in front of 
under these out behind
across this adjacent above
toward west by upon
9. Comparison-Contrast Signals (We will now compare idea A with idea B.)
and or also
too best most
either less less than
more than same better
even then half
much as like analogous to
but different from still
vet however although
opposite rather while
though
10. Conclusion Signals (This ends the discussion and may have special importance.)
as a result consequently finally
from this we see in conclusion in summary hence last of all therefore
11. Fuzz Signals (Idea is not exact, or author is not positive and wishes to qualify a statement.)
almost if looks like
maybe could some
except should alleged
nearly might reputed
seems like was reported purported
sort of probably
12. Nonword Emphasis Signals
exclamation point (!)
underline
italics
bold type
subheads, like The Conclusion
indentation of paragraph graphic illustrations numbered points (1, 2, 3) very short sentence: Stop war. "quotation marks" ,
See also List 75, Test and Workbook Words; and List 77. Important Modifiers.
Dialogue
The words of dialogue are the pixels of literary portraits. If you are portraying people, dialogue characterizes and individualizes your subject better than any other single aspect of technique.
Brevity is the watchword for writing realistic dialogue: short words, sentences, and statements. But brevity is only a tool. Above all, dialogue must depict and reflect the personalities of the speakers.
Gertrude Stein once chastised Hemingway: "Remarks, Ernest, are not literature." She was right. You can't record conversations in the student center for an hour and have an essay. Readers will find a typescript of an actual conversation insufferable—^with all of its hems and haws and repetitions. You must pare dialogue to the marrow, keeping statements short and the conversation itself brief A good rule of thumb for the MFE is to keep dialogue to less than 15% of the total number of words.
Dialogue enhances the appearance of the page because it utilizes a key principle of advertising copywriting: leave a lot of white space. The short statements and brief paragraphs in dialogue make the page as inviting as driving early in the morning when few cars are on the streets and there's a lot of open road ahead.
Dialogue—Example
Rube Marquard: "I Become a Big Leaguer" from The Glory of Their Time
In the selection to follow, Rube Marquard, one of the few major league pitchers to win more than two hundred games, who had been disowned by his father ten years earlier when he left home to play baseball, tells about the reunion with his dad.
One day when I was pitching for Brooklyn, I pitched the first game of a double-header against Boston and beat them, 1-0. I was in the clubhouse during the second game, taking off my uniform, when the clubhouse boy came in.
"Rube," he said, "there's an elderly gentleman outside who wants to see you. He says he's your father from Cleveland."
"He's not my father," I said. "My father wouldn't go across the street to see me. But you go out and get his autograph book and bring it in, and I'll autograph it for him."
But instead of bringing in the book, he brought in my Dad. And we were both delighted to see one another.
"Boy, you sure are a hardhead," he said to me. "You know I didn't mean what I said ten years ago."
"What about you, Dad?" I said. "You're as stubborn as I am. I thought you never wanted to see me again. I though you meant it."
"Of course I didn't," he said.
After we talked a while, I said, "Did you see the game today?"
"Yes, I did," he said.
"Where were you sitting?" I asked him.
"Well, you know the man who wears that funny thing on his face?" "You mean the mask? The catcher?"
"I guess so. Well, anyway, I was halfway between him and the number one—you know, where they run right after they hit the ball." "You mean first base?"
"I don't know," he said. "I don't know what they call it. I was sitting in the middle there."
"How many ball games have you see since I became a ballplayer. Dad?" "This is the first one," he said.
Dialogue-Punctuating, Indenting, Speaker Tags
In general, treat each utterance by a speaker as a new paragraph. Begin each dialogue assigned to a speaker by creating a new paragraph and indenting it as you would a new paragraph. (Let the computer format "wrap around" for longer dialogue just as you would other descriptive narrative, i.e., justify it at left-hand margin.) Possible exception: if there is only one speaker, you can often insert short bits of dialogue right in the flow of the narrative without breaking the flow by creating a separate paragraph for the dialogue.
Punctuation
Quotation marks go at the beginning and end of a quotation. If a quote is several sentences long (or even several paragraphs long) and has no insertions, you use only two quotation marks—at the beginning and at the end. If there are words inserted into the middle of a quote, such as a speaker tag, put quotation marks at the point where the quote is interrupted and also at the point where the dialogue resumes. In general, separate a quote from a speaker tag with a comma. If the quote ends with a question or exclamation, punctuate appropriately (?/!) in place of the comma.
Capitalization follows general rules. Capitalize first the first word of a sentence of dialogue but not the first word of dialogue interrupted by a speaker tag.
Speaker Tags
Four dialogue devices are used with speaker tags to identify speakers.
1. Bare statement—no speaker tag:
"Well, you know the man who wears the funny thing on his face?" (No, he said tag)
2. Statement plus speaker tag:
"Where were you sitting?" I asked him.
3. Speaker tag plus statement:
After we talked a while, I said, "Did you see the game today?"
4. Interrupted statement:
"Rube," he said, "there's an elderly gentleman outside who want to see you." (In the interrupted statement, the tag is best placed at a point of juncture, i.e., pause, in the statement.)
Sentence Variety
Simple sentences-best for clarity, emphasis, drama, one-liners (humor)
Example:
♦ Didion~"I want it still."
♦ Chaney— 'Tm glad for this time of life."
Compound sentences-best to show correlation and correspondences; combine
short sentences Example:
♦ Chaney-The yellow walls and a flower border offend the masculine members of the family, but I like it.
♦ Caudill—I was often caught with my hand m the (chocolate chip) cookie jar, and I always coveted my neighbor's Hershey.
♦ Amoura-Patterson—The ice broke some time ago and summer is almost here.
Complex sentences-subordinate one thought, item, event to a more important
one; evaluation Example:
♦ Hupp—Since the expression of love may be the most personal of all emotions, 1 strive for sincerity by creating my own message.
♦ Chaney—When I shut my door, the noises of the house are dimmed and I am alone.
Hint-put the more important info in the independent clause and put that clause last.
1. When Jean and I arrived at the dam site the next day around noon, we were certain we would never find Bill and Phil amidst the hundreds of other crazy people.
2. We were certain we would never find Bill and Phil amidst the hundreds of other crazy people, when Jean and I arrived at the dam site the next day around noon.
3. Since we were certain we would never find Bill and Phil amidst the hundreds of other crazy people, Jean and I arrived at the dam site the next day around noon.
1. Andersen—Although it seems like I manipulated him, I love and respect him.
2. I love and respect him, although it seems like I manipulated him
3. Although I love and respect him, it seems like I manipulated him