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Teaching Academic Writing

June 8, 2009 by Roy Johnson

a toolkit for writing skills in further and higher education

No matter what subjects students engage with in further and higher education, they will be required to produce written work on which they will be assessed. This could be the formal academic essay, a lab report, a project, a case study, or even a reflective journal. Teaching Academic Writing is designed to assist subject lecturers and writing skills tutors whose job it is to help students develop their written work and grasp the conventions of academic argument and expression.

Teaching Academic Writing The need for this assistance has arisen as larger and larger numbers of students enter F & HE – often from non-traditional backgrounds, and sometimes with `English as a second language. The authors (a group of tutors from the Open University) start off by suggesting that teachers should make explicit the writing tasks they set for students. It can no longer be assumed that students will already know what an academic essay requires them to do – or that they will pick up the idea as they go along.

Next comes making them conscious of the appropriate academic register, as well as eradicating grammatical errors. There’s no quick fix for this: it requires a lot of intensive marking and supportive feedback. But I was surprised they didn’t spot the time-saving device of putting guidance notes on line.

However, their suggestions on pre-writing (notes), brainstorming, and planning should be useful as tools for teaching students that almost no form of successful writing comes fully-formed, straight from the head of the writer.

At a time when modular degrees are becoming more popular, it’s important that students are aware of the differing conventions which obtain in various subjects. These can vary from the ‘hard evidence’ required in sciences to the ‘well-informed opinion’ which is accepted as persuasive argument in the arts. Somewhere in between are the social sciences which attempt to combine the two. Once again, they argue very sensibly that these conventions should be made explicit to students if they are to have any chance of succeeding in their work.

They also show examples of such work and offer exercises which are designed to raise students’ awareness of what’s required. The close examination of a case study in business studies reveals the particular difficulty of writing for two audiences at the same time.

The next chapter deals explicitly with the issue of assessment. Once again the advice is to make the assessment criteria clear to both students and tutors alike. And their advice on providing feedback on assessed work is excellent. It would be good to see the marking pro-formas and guidance notes in more widespread general use.

However, what they don’t take into account is the important factor that making assignments thoroughly is a time-intensive activity, and many tutors can skimp on this part of their duties because they know their work will not be closely monitored. Moreover, since much direct teaching and assignment marking in F & HE is now done by hourly paid post-graduates, they are place in the invidious position of working for the rates of a domestic cleaner, exploiting themselves in order to stay in employment. [This is a subject close to my heart, which I discuss in my own book on Marking Essays.]

They finish with a first rate chapter on academic writing in an electronic environment. This covers all the digital tools available – from word-processors and email, to conferencing and discussion forums, and online writing laboratories (OWLs) and the strategies by which materials located on line can be evaluated for their usefulness.

Tutors at any level of F & HE would do themselves a favour by rehearsing the issues raised in this book. It might be written by what is almost a committee, but it’s got a collective’s combined experience written into it.

© Roy Johnson 2005

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Caroline Coffin et al, Teaching Academic Writing, London: Routledge, 2003, pp.175, ISBN 0415261368


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Filed Under: Study skills, Writing Skills Tagged With: Academic writing, Education, Marking Essays, Teaching Academic Writing, Writing skills

The Art of Punctuation

July 4, 2009 by Roy Johnson

how to use common marks of punctuation

Noah Lukeman is a writers’ agent with a lot of top class clients, so maybe he knows whereof he speaks on this issue. He is concerned with the business of clarifying your writing by using punctuation in an efficient manner. The unique selling point in The Art of Punctuation is that there are no grammar lessons and no attempt to bore the reader with rules and conventions. Instead, he seeks to inform by showing examples of successful use by well-known authors.

The Art of PunctuationAnd his exposition is aimed at creative writers, who I suspect will enjoy this approach. Most of his argument is posed in the form of metaphors (commas: the speed bumps of punctuation) and when he analyses examples, he tries to show how professional writers achieve their special effects. He starts off with an examination of what he rightly identifies as the ultimate basic set, which he calls ‘the triumvirate’ – the comma, semicolon, and the full stop. It’s amazing how much there is to say about them.

You might disagree with some of his arguments. I don’t think it’s a good idea to discuss the dash and brackets at the same time, as if they perform the same function, But on the whole readers unsure about punctuation are likely to profit from what he has to say.

He illustrates his guidance with brief quotes from famous writers – all of which I think will make readers more sensitive to the subtleties of punctuation.

No iron can stab the heart with such force as a full stop put just at the right place. — Isaac Babel

I have been told that the dying words of one famous 20th century writer were ‘I should have used fewer semicolons’. — Lynn Truss

By its very form (;) the semicolon betrays its dual nature; it is both period and comma. — Eric Partridge

He’s quite good on quotation marks, and I think anyone writing character-based work would do well to look closely at the variety of different ways dialogue can be presented in prose fiction.

The same is true of the paragraph. This in my experience is a much neglected aspect of giving structure to writing. I spend a lot of time teaching my students how to identify a topic, how to introduce it, discuss it, and conclude in such a way that brings the topic to a close yet leads on to the next.

This is a non-technical and non-judgemental approach to the subject of how to give pace, flow, and cadence to your writing. It’s also full of insider tips which he drops in from time to time. For instance, he reveals that publishers’ readers will know on the first page of your submitted work if its punctuation is amateurish or professional. And they will know by page five if it goes in the bin or not. So be warned. Get it right.

© Roy Johnson 2007

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Noah Lukeman, The Art of Punctuation, Oxford: Oxford University Press, 2007, pp.208, ISBN 0199210780


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The Basics of Essay Writing

July 23, 2009 by Roy Johnson

how to develop and improve your essay-writing skills

The main thing to say here about The Basics of Essay Writing is that it’s very short. Nigel Warburton has compressed the essential points of essay-writing skills into an amazingly small space. He’s done this by using a technique which could be recommended to people writing in any literary form. It’s called ‘cutting out the dross’. His ideas and recommendations come thick and fast, and he doesn’t dwell on anything for very long. The result is a highly concentrated series of tips, advice, and guidance on all aspects of academic writing.

The Basics of Essay Writing He begins by pointing out the importance of writing skills – how everyone can improve with just a few simple steps, and how writing is a form of thinking. It really is true that often you don’t really understand something properly until you have written it down. He deals with getting started, and how to encourage your own fluency; how to understand the instruction terms in an essay question; and how you must keep in mind the most important thing of all – answering the original question.

Research skills are condensed into the very sound advice that you need to be disciplined. You should not ‘get lost’ in reading everything, and your reading should be accompanied by active note-taking as a preparation for producing your essay plan.

The central part of the book deals with the all-important issue of structure: how to create order, marshal your arguments, and write good introductions and conclusions. In my experience this is the part students find hardest, and if you follow his suggestions it should be more manageable.

There’s a good section on plagiarism and referencing where he shows some practical examples of the various degrees of plagiarism which are possible, even when the original source is acknowledged.

Cultivating an appropriate style is dealt with via tips on tone, vocabulary, spelling, and punctuation. There’s a section on dealing with exams, and he ends with general advice for improving your writing. He shows a rogue’s gallery of common mistakes – of which he has obviously seen many.

Nigel Warburton is the principal author of a very successful Open University course on essay-writing skills. In fact (without knowing him in the slightest) I have been tutoring it for the last few years, and I have been repeatedly struck by the thoroughness of its approach. All the students who follow the course recommendations pass with flying colours.

© Roy Johnson 2007

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Nigel Warburton, The Basics of Essay Writing, London: Routledge, 2007, pp.128, ISBN: 0415434041


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The Classic Guide to Better Writing

June 19, 2009 by Roy Johnson

guide to writing skills basics – plus grammar and spelling

This is a book with three titles. The Classic Guide to Better Writing was originally The Way to Write, and it has also been issued by Warner books as The New Guide to Better Writing. What does this mean? Well, my guess is that it indicates a compilation of sound advice which has been successfully marketed in various guises. As the blurb claims, “The book that has taught millions the art of writing well”. You also get the benefit of many revisions and new editions in its lifetime.

The Classic Guide to Better WritingFlesch and Lass are emphatic planners. They start off with what they claim as the three essential chapters – the need to plan, how to generate ideas, and how to put these ideas into some order. There’s a reassuring tone, and they cover many different kinds of writing. They even discuss the common mistakes and distractions which prevent people from writing well. I think this is what has made this book a best-seller: they keep the needs of their readers in mind.

The first part of the book discusses the construction of paragraphs; linking ideas and statements; audience and tone; clauses, phrases, and sentence construction; brevity, clarity, and avoiding ambiguity. Their advice is academically based, but chapters on making your writing more direct, interesting, and even amusing will appeal to general readers and those with a penchant for creative writing. However, they issue a warning that “This book won’t make you into another Shakespeare…But it will, we hope, teach you to write simply, clearly, correctly”

Part two tackles basic grammatical problems – double negatives; agreement of verb and subject; incomplete sentences; commonly confused words (affect/effect, imply/infer, lie/lay) spelling; quotations; awkward plurals (Mrs, court-martial, zero) and capitalization.

They do take the traditional [and perhaps outdated] view that you need to know the grammatical terminology for effects which most people use instinctively (‘relative pronouns’, ‘object of a preposition’) but fortunately every topic is illustrated with good examples, and anyone with the discipline to work through their exercises would give themselves a thorough grounding in the fundamentals.

Like many other classic guides, you get the advantage of a low price, because the publishers can afford to be generous, having made their money with earlier printings of a best-seller. This is a good-value manual on the principles of clear writing. Make sure you get the latest, 50th anniversary edition.

© Roy Johnson 2000

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Rudolph Flesch and A.H.Lass, A Classic Guide to Better Writing, New York: Harper, 1966, pp.288, ISBN 0062730487


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The Economist Style Guide

June 16, 2009 by Roy Johnson

best-selling guide to English usage and style rules

The Economist prides itself on good quality writing. The Economist Style Guide is the print version of their in-house guide on grammar and English usage which they issue to all their journalists. It’s designed to promote precision and clarity in writing – and the advice it offers is expressed in a witty and succinct manner. It gives general advice on writing skills, points out common errors and cliches, offers guidance on consistent use of punctuation, abbreviations and capital letters, and contains an exhaustive range of reference material.

The Economist Style GuideIt also includes a special section on American and British English, a fifty-four page fact checker, and a glossary. I particularly like the section called ‘Common Solecisms’ which warns against popular misunderstandings and points to words often used incorrectly.

Anticipate does not mean expect. Jack and Jill expected to marry; if they anticipated marriage, only Jill might find herself expectant.

The emphasis of the illustrative examples is on current affairs, politics, economics, and business – but the lessons in clear expression and the examples of tangled syntax and garbled journalese will be instructive to all writers who wish to sharpen their style.

It takes quite a tilt at the language of political correctness – and I think some of the following advice might be challenged. But it is so refreshingly un-stuffy, one reads on with a smile in the mind.

Avoid, where possible, euphemisms and circumlocutions promoted by interest-groups. In most contexts the hearing-impaired are simply deaf. It is no disrespect to the disabled sometimes to describe them as crippled. Female teenagers are girls, not women. The underprivileged may be disadvantaged, but are more likely just poor.

The guidance is arranged in logical, separate sections – political terms, metaphors, apostrophes, spelling, Americanisms – so you can easily find what you need. The bulk of the advice deals with common problems of English such as the difference between ‘compare with‘ and ‘compare to‘, but I was glad to see that rather like Keith Waterhouse (Waterhouse on Newspaper Style they do not leave the excesses of their own profession unexamined.

Avoid expressions used only by journalists, such as giving people the thumbs up, the thumbs down or the green light. Stay clear of gravy trains and salami tactics.

© Roy Johnson 2010

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The Economist Style Guide, London: Economist Books, 10th edition 2010, pp.272, ISBN: 1846681758


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The Elements of Style

July 19, 2009 by Roy Johnson

best-selling short guide to good writing style

This style guide is a well-loved American classic. It was originally written during the first world war by William Strunk who was then a professor at Cornell, and it has since been updated to its third edition by E.B.White, one of his former pupils. You might wonder why it’s still in print and just as popular as ever. The answer is obvious to anyone who has ever opened a book on grammar in search of solutions to common writing problems.

The Elements of StyleStrunk’s clever strategy was to edit down the complexities of English grammar into just those few basic elements which would help people to improve their writing skills. His central rule is to keep everything as simple as possible – or “Omit needless words”. For instance, he kicks off immediately with the apostrophe, the comma, and other points of punctuation which create the most common problems.

Only when he has cleared these out of the way does he get down to what he calls the ‘Elementary Principles of Composition’. One of these first principles is something which I write on three of every four student essays: “Make the paragraph the unit of composition” and “Begin each paragraph with a sentence that supports the topic”. This is the foundation on which he builds his main suggestions for clear writing, which are focused on always creating the direct, the specific, and the concrete statement, rather than striving for special effects.

His approach sometimes seems a little old-fashioned when it includes grammatical terms such as ‘nonrestrictive clauses’ which we don’t really need to know. But every point of advice is well illustrated by examples of good and bad practice, so the reader is left in no doubt in recognising the problem and how to correct it.

He skips lightly over quotation and references, saving most of his energy for an extended chapter on words which are commonly confused or misused – such as Among/Between and That/Which.

The final chapter added by E.B.White is a list of twenty-one guidelines for clear and good writing from which anyone could profit. The suggestions range from keeping the audience in mind, avoiding pretension and too many qualifiers, to hints on the choice of effective vocabulary.

I saw this book recommended in a web site design manual published only a few weeks ago, and it’s certainly true that anyone who needs a brief and clear introduction to the principles of effective writing should get a copy. In fact Strunk’s insistence on the pursuit of brevity is particularly appropriate for the digital era. It’s also amazingly good value.

© Roy Johnson 2002

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William Strunk Jr and E.B. White, The Elements of Style (4th edition) London: Longman, 1999, pp.105, ISBN 020530902X


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The First Five Pages

February 21, 2010 by Roy Johnson

a writer’s guide to staying out of the slush pile

Noah Lukeman is a New York literary agent with a number of top-ranking authors as his clients. He has also written a number of books on the craft of writing (see The Art of Punctuation for instance) so he knows what he’s talking about when it comes to the literary marketplace – in which it must be said so many people wish to make their mark. Publishers and literary agents receive hundreds and hundreds of manuscripts each month – almost all of which are rejected. The First Five Pages is his advice for staying out of the slush pile.

The First Five PagesIt’s the job of these publishing professionals to be discriminating, and it’s the job of the writer to produce a manuscript that stands out among the competition. Those outstanding qualities, Lukeman argues, have to be apparent from the first five pages – otherwise no agent or publisher will bother reading further. In fact he claims – and I believe him – that five sentences is enough. His advice when it comes is quite bracing. First of all he dismisses the supremacy of plot, and lets you in to a secret from the professional’s office:

Agents and editors often ignore synopses and plot outlines; instead, we skip right to the actual manuscript. If the writing is good, then we’ll go back and consider the synopsis

The other thing which creates an immediate impression on agents and publishers is the physical presentation of text. He takes a really strict line here.You should use clean, new A4 paper, and the text should be printed at high quality, double spaced with one inch margins and indented dialogue and paragraph first lines. The slightest falling off in these standards gives the reader every reason to chuck your work into the reject bin.

Next comes the surgical removal of excessive adjectives and adverbs – the most common mistake of would-be writers. This is followed by advice on the sound of language, and how to avoid unwanted alliteration, assonance, and verbal echoes. The same is true for any comparisons or metaphors you use. They should be fresh, original, and to the point – otherwise, leave them out.

On literary style his advice is to avoid mannerism and extremes, and he nails down two excellent examples of the ‘academic’ and ‘experimental’ style of writing.

There’s a section on dialogue and eradicating all that ‘he said … she retorted’ sort of thing. He warns specifically against the easy trap of using dialogue to fill in the back story. That is, having characters explicate matters they would both already know (for the benefit of the reader). The rule – as ever – is show, don’t tell.

The same sort of rigour is well-advised over point of view and narrative mode. Many amateur writers use the first person mode thinking it will allow them the chance to show off, but all they end up doing is littering their story with too much biographical dross, and failing to create a consistent and credible or interesting narrator.

Next comes the creation of character. This is a difficult topic on which to generalise. Some great novels have memorable characters about whose appearance we know very little (Kafka’s Joseph K for instance) and others are memorable merely for what they do – such as Catherine Earnshaw, who even dies half way through Wuthering Heights.

The later chapters deal with some of the more subtle points of being creative – knowing what to leave out, striking the right tone, how to stay focused on the main event, and how to deal with setting and pace.

Many aspiring writers will complain that their favourite authors ignore these guidelines – and Lukeman admits that great writers break all the rules. But what he’s offering here is a guide to common mistakes which should be avoided. As he says, would-be writers from California to England to Turkey to Japan … do exactly the same things wrong

To get into print in the first instance you have to obey the literary norms of the day. And that’s what this book The First Five Pages is doing in its own modest way. Noah Lukeman just wants to show you how to stand out from the also-rans in the slush pile, as something worthy of notice.

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© Roy Johnson 2010


Noah Lukeman, The First Five Pages, Oxford: Oxford University Press, revised edition, 2010, pp.191, ISBN: 0199575282


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The Forest for the Trees

July 3, 2009 by Roy Johnson

advice to writers – from an experienced editor

All authors, editors and publishers should read this book. Even those who think they know all about writing and the publishing process will find fresh ideas and perceptive insights. Betsy Lerner has a wealth of experience, from her youthful beginnings at Simon & Schuster to becoming executive editor at Doubleday and now as a literary agent. She writes with style, empathy, wit, realism, and above all humanity. In The Forest for the Trees she identifies five ‘writer types’, all of them familiar.

The Forest for the TreesThe Ambivalent Writer is one who can’t commit to a one idea for a story from the many possibles and who does not realise that writing is 90 per cent sheer sticking power. The Natural Writer is the one for whom writing appears to come easily. Or is that the myth of not realising that hard writing makes easy reading? Lerner’s definition of the ‘natural’ is one who is always writing. She cites Thurber who never quite knew when he was or wasn’t at it, ‘Sometimes my wife comes up to me at a party and says, “Dammit, Thurber, stop writing.”‘ For ‘natural’, maybe one should read ‘persistent’.

The Wicked Child relies on ‘kiss-and-tell’: someone who exposes family relationships, friends, acquaintances (or even, like Philip Roth, a whole tribe) in a more or less disguised fashion. personal relationships. The Self-promoter will do anything for fame – there are many such writers today, but it is a shock to realise that Walt Whitman shamelessly trumpeted himself from the roof-tops and sucked up to celebrity writers of the day. Emily Dickinson on the other hand died with 2000 poems unpublished .

The Neurotic makes a great fuss about the process itself – writing has to be done with an HB pencil, or on lined paper of exactly the right width. Few of these quirks are as eccentric as Dame Edith Sitwell who needed to start the day’s work by lying in an open coffin, but every reader will recognise such stalling techniques.

The second half of the book deals with the publishing process – everything from finding an agent to the book jacket and sales conference. Authors should be aware of what editors are looking for and what they can realistically expect from a publishing house. It would seem that a wad of rejection letters followed eventually by a book without a launch party and no reviews is completely the norm. And if authors turn up to read their books in local bookshops only to find they haven’t got any copies to sell, that’s par for the course too.

Naturally every author is looking for validation, but ten per cent of all titles earn ninety per cent of all revenues. Publishers are clearly going to concentrate on those at the top of their lists. Yet the truth seems to be that even the publishers don’t know which books are going to be in that top ten per cent. If they did, they probably wouldn’t print any of the others at all.

Lerner concludes: ‘Most of the disappointment that writers experience in having a book published can be traced back to their initial expectations – what most writers don’t understand … is that landing a contract and being published do not guarantee the fulfillment of all their hopes and dreams.’

Why do we do it?

© Jane Dorner 2004

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Betsy Learner, The Forest for the Trees: An Editor’s Advice to Writers, New York: Riverhead Books/Penguin Putnam, revised and updated edition 2010, pp.304, ISBN: 159448483X


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The Global English Style Guide

July 2, 2009 by Roy Johnson

writing clear documentation for a global market

Many people who do not speak English as a first language struggle to understand English texts. Human translation is expensive. Machine translation (MT) frequently does not work. Global English offers a solution to these three related problems. Many good style guides exist. Why do technical writers need another guide to writing style? But unlike many other guides, The Global English Style Guide covers grammatical structures, not only particular terms.

The Global English Style Guide The book has more than 200 pages of text (plus 4 appendices) that give detailed explanations of both good practice and bad practice. John Kohl writes clearly, and he explains the reasons for the guidelines. His guidelines are based on practical work at SAS Institute, where he works as a technical author. Most technical writers know some of the guidelines already. For example, restrict the use of the passive voice; use language literally; and simplify the writing style. However, many guidelines may be new. For instance, until I read the book, I used all these sentence structures:

  • However, you can put an adverb in many locations.
  • You can, however, put an adverb in many locations.
  • You can put an adverb in many locations, however.

Now, I put an adverb at the start of a sentence, because in that location, the adverb helps to show the reader the logical connection with the previous sentence.

Both of the following sentences are grammatically correct:

  • Set up the system.
  • Set the system up.

Now, as far as possible, I always use the first structure, and keep the parts of a phrasal verb together. Keeping the parts of the verb together increases consistency, improves machine translation, and helps non-native speakers who do not know the particular verb.

A full chapter and an appendix show how to improve readability and translatability by using syntactic cues. A syntactic cue is a part of language that helps a reader to identify parts of speech and to analyse the structure of a sentence. Sometimes, syntactic cues are optional, but excluding them can cause ambiguity. Kohl gave a humorous example. The grammatically correct sentence, “Do not dip your bread or roll in your soup” has two possible meanings:

  1. Do not dip your bread or your roll in your soup.
  2. Do not dip your bread in your soup, and do not roll in your soup.

If readers are aware of the second interpretation, they know that it is incorrect. However, with technical texts, if a writer does not include optional syntactic cues, a reader’s interpretation may be incorrect.

With Global English, a writer can use all grammatical structures and all terms, unless the guidelines prohibit the grammar or the term. Additionally, the primary rule of Global English is, ‘do not make any change that will sound unnatural to native speakers of English’.

An alternative method for writing clear text is to use a controlled language. With a controlled language, a writer can use only grammar and terms that are permitted. Despite the different methods, many of the Global English guidelines agree with controlled language guidelines.

The subtitle of the book refers to writing documentation. However, most of the guidelines apply to copywriting as much as to technical writing. All writers who want to reach a global audience, to decrease translation costs, or to make their texts as clear as possible will benefit highly from this book.

Review by Mike Unwalla © 2008

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John R, Kohl, The Global English style guide: writing clear, translatable documentation for a global market. Cary, NC: SAS Institute Inc. 2008, ISBN 9781599946573.


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The Handbook of Good English

June 30, 2009 by Roy Johnson

guide to grammar, punctuation, usage, and style

Some writing guides are not much more than a list of grammatical rules, with illustrative examples and tips on what to avoid. Even though it uses grammatical elements as its structure, The Handbook of Good English is almost the opposite of that. Edward Johnson is an editor with a passion for language and the way it is used. What he seeks to explain is not just grammatical rules but the reasons why some forms of writing are more persuasive and elegant than others.

The Handbook of Good English And he does this in a very leisurely manner, which is what makes this book so long – and comprehensive. He starts with sentences, then works his way to parts of speech and punctuation. At best, the examples and explanations he gives are good for being so succinct – as in his discussion of the gerund:

I dislike that man’s wearing a mask and I dislike that man wearing a mask are different statements. In the first, the wearing of the mask is disliked; in the second, the man is disliked. In the first statement, wearing is a gerund – that is, a special verb form that functions as a noun.

He covers every possible combination of circumstances which can arise to create problems: how to show quotations within quotations, dashes within parentheses, foreign words, and the titles of newspapers, plays, and the parts of a book. His thoroughness is almost exhausting. There are twenty-seven pages on the comma and thirty-four on the hyphen alone.

He’s what might be called a liberal or tolerant prescriptivist, because whilst permitting occasional exceptions, he does ultimately seek to establish rules:

the functionless comma does no harm, but nevertheless, commas that have no function should be omitted, just as words that have no function should be omitted (see Rule 1-4).

He takes full account of the differences between American and UK use of English, and it is interesting to note that (contrary to what UK traditionalists imagine) changes and influences operate in both directions.

Grammar issues apart, the chapter most readers will enjoy is his last – where he gives excellent advice on writing style. This covers subtle matters such as tone, diction, pace, attitude, and construction.

But at times, his approach is not so felicitous. I found it slightly annoying that a lot of his topics started off with bad examples. There are so many reasons why writing can be clumsy and ill-formed, this leads him into lengthy discussions of all the possible corrections and alternatives, after which he is forced to say:

It must be admitted that the correct versions of these sentences are much harder on the ear or eye than the incorrect versions, and that rewriting them would be advisable.

It’s a book which will probably be of most use to those people who already have a reasonable command of basic English, but who would like to know why some common grammatical problems are wrong or unacceptable – as well as how to put them right. In this sense it can be used as both a book of instruction or reference.

© Roy Johnson 2000

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Edward D. Johnson, The Handbook of Good English, New York: Washington Square Press, 1991, pp.426, ISBN: 0671707973


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