Have you attacked personal pronouns with apostrophes? Have you armed yourself in a fight against apostrophes and indefinite pronouns? Apostrophes can drive writers to word battles as well as madness.
Here are two apostrophe/pronoun rules to provide your mighty pen with some much needed R & R.
RULE # 1. Personal pronouns in the possessive case (his, hers, its, ours, yours, theirs) and the relative pronoun whose do not require apostrophes.
INCORRECT: The books were her's.
CORRECT: The books were hers.
INCORRECT: The leopard can't change it's spots.
CORRECT: The leopard can't change its spots.
INCORRECT: Mary is the girl who's mother I met.
CORRECT: Mary is the girl whose mother I met.
RULE # 2: An indefinite pronoun (one, everyone, everybody, etc.) in the possessive case requires an apostrophe and an s.
EXAMPLES:
Each one's time is recorded separately.
He seems to need everybody's attention.
*Note: In such forms as anyone else, somebody else, etc., the correct possessives are anyone else's, somebody else's, etc. The word oneself has no apostrophe. Remember -- no one's perfect unless they use an apostrophe!
Grab your sword, I mean, mighty pen, and prepare for battle! May the apostrophe be with or without you, depending on the case!
Sunday, August 21, 2011
Saturday, August 13, 2011
Show; Don't Tell -- Explanation and Examples
Since I had some questions from writers concerning the first rule of writing -- Show; Don't Tell -- I found an outstanding website that provides excellent examples.
Here's the website:
http://users.wirefire.com/tritt/tip1.html
I think any writer will find the examples and explanations on the website, Inspiration for Writers, immensely helpful.
Here's the website:
http://users.wirefire.com/tritt/tip1.html
I think any writer will find the examples and explanations on the website, Inspiration for Writers, immensely helpful.
Tuesday, August 9, 2011
Are You in Agreement?
I found this headline yesterday in a magazine I was reading: ONE IN FOUR SENIORS STRUGGLES. Is this headline grammatically correct? Does it sound like something's not correct? Are you in agreement with the author/editor, or do you disagree?
Agreement in the grammar world often seems tricky. However, the headline is grammatically correct -- "one" is actually the subject, not "seniors," and "struggles" is the predicate. ("In four seniors" is a prepositional phrase, and, as I used to explain to my students, subjects are never, ever in preppy phrases. Preppy phrases are simply extra information.)
Both "one" and "struggles" are singular, and therefore, in agreement. (Some people automatically associate an "s" with "plural" which is incorrect in the world of verbs, so if you think of the "s" on most regular verbs as starting the word "singular," you will be able to remember which verb is which.)
Although you are familiar with the singular and plural forms of nouns, pronouns, and verbs, you may still include "agreement errors" in your sentences. So why do these errors occur? As you proofread, perhaps you fail to analyze your sentences correctly and do not determine the true subjects of the sentences. Certain sentence constructions tend to make it more difficult, unless you take the time to actually look at the sentence's construction, to find the true subject.
In many sentences a phrase intervenes between the subject and the verb, as in the example above, and it's easy then to become confused and make a mistake about the number of the verb. Just as an intervening phrase can do, a clause can also come between the subject and verb, making it more difficult for you to choose the correct form of the verb.
Remember the basic principle of agreement: The verb must agree with its subject, not with any modifiers the subject may have.
Here's the actual grammar rule: The number of the subject is not changed by a phrase or clause following the subject.
Examples:
This tape is by the Boston Pops Orchestra.
This tape of songs from a Broadway musical is by the Boston Pops Orchestra. [Tape is still the subject. "Of songs" and "from a Broadway musical" are both prepositional phrases.]
The girl is our next-door neighbor. ["Girl" is singular, and "is" is singular.]
The girl who sells eggs is our next-door neighbor. [Girl is, not eggs are. "Who sells eggs" is a clause.]
Tsetse flies, which carry the dreaded disease called sleeping sickness, attack both humans and cattle.
A single milk pail, in addition to a rotting log and bird tracks, appears in a painting by Andrew Wyeth.
Agreement is important in constructing your sentences and writing correctly. Do you agree?
Agreement in the grammar world often seems tricky. However, the headline is grammatically correct -- "one" is actually the subject, not "seniors," and "struggles" is the predicate. ("In four seniors" is a prepositional phrase, and, as I used to explain to my students, subjects are never, ever in preppy phrases. Preppy phrases are simply extra information.)
Both "one" and "struggles" are singular, and therefore, in agreement. (Some people automatically associate an "s" with "plural" which is incorrect in the world of verbs, so if you think of the "s" on most regular verbs as starting the word "singular," you will be able to remember which verb is which.)
Although you are familiar with the singular and plural forms of nouns, pronouns, and verbs, you may still include "agreement errors" in your sentences. So why do these errors occur? As you proofread, perhaps you fail to analyze your sentences correctly and do not determine the true subjects of the sentences. Certain sentence constructions tend to make it more difficult, unless you take the time to actually look at the sentence's construction, to find the true subject.
In many sentences a phrase intervenes between the subject and the verb, as in the example above, and it's easy then to become confused and make a mistake about the number of the verb. Just as an intervening phrase can do, a clause can also come between the subject and verb, making it more difficult for you to choose the correct form of the verb.
Remember the basic principle of agreement: The verb must agree with its subject, not with any modifiers the subject may have.
Here's the actual grammar rule: The number of the subject is not changed by a phrase or clause following the subject.
Examples:
This tape is by the Boston Pops Orchestra.
This tape of songs from a Broadway musical is by the Boston Pops Orchestra. [Tape is still the subject. "Of songs" and "from a Broadway musical" are both prepositional phrases.]
The girl is our next-door neighbor. ["Girl" is singular, and "is" is singular.]
The girl who sells eggs is our next-door neighbor. [Girl is, not eggs are. "Who sells eggs" is a clause.]
Tsetse flies, which carry the dreaded disease called sleeping sickness, attack both humans and cattle.
A single milk pail, in addition to a rotting log and bird tracks, appears in a painting by Andrew Wyeth.
Agreement is important in constructing your sentences and writing correctly. Do you agree?
Saturday, July 23, 2011
The Forgotten Comma
Commas? We're supposed to use them in our writing? I don't use them because I don't know where they go. Do we really need them anyway? Just forget about commas and write!
Do these comments sound familiar? I know too many writers who say exactly those things about commas, so I thought not only would I strive to improve, but I would give you one of the comma rules to either refresh your memory, or let you practice adding and focusing on one comma rule at a time in your writing.
(This next section, which is included in the parentheses, is for those who always want to know why and who question everything, or for those who want to learn even more; otherwise, skip to the end of the parentheses and to the rule.
When we listen to ordinary speech, we do not hear sounds or words alone; we hear groups of words that we understand as phrases, clauses, or full sentences. We are able to hear these groups of words because the speaker stresses certain words, inserts pauses where they are needed, and changes pitch of voice according to the sense of the sentence.
When we write a sentence, we show these pauses by using marks of punctuation. Not all punctuation conforms to the pauses we use in speech; some, like the semicolon, are used in a traditional way to show grammatical relationships that cannot be expressed by the voice alone. Others, however, match the rise and fall of our voices, called inflection, and the stops, or pauses, we use to separate groups.
When we make a shorter pause (comma), we show a break in thought, as when inserting a nonessential clause or a word or a phrase in apposition. A comma -- sometimes a dash or parentheses -- indicates this half stop in writing.
For many years English writing was marked by extremely full and detailed punctuation that now seems excessive to us. Too much punctuation interferes with easy reading, just as a speaker who continually pauses or stops is hard to understand. Overpunctuation can be avoided by remembering to use a mark of punctuation for only two reasons: (1) because meaning demands it, or (2) because conventional usage requires it. If a sentence is unclear to begin with, punctuation will not clarify it. If you find yourself struggling with the punctuation of a particular sentence, ask yourself whether the trouble lies in your arrangement of phrases or in your choice of words. Often you can eliminate the problem by recasting the sentence.)
Here's one commonly forgotten comma rule: Use a comma before and, but, or, nor, for, yet when they join independent clauses.
Examples
The Drama Club will be putting on Macbeth, and I can hardly wait to audition.
Amy was nervous about computer programming, but after two weeks in the class she was doing well.
I had to follow the recipe carefully, for I had never tried to bake a cake before.
*Note the rule applies to compound sentences, not compound verbs, compound subjects, and the like. In the following examples, commas should not be used.
Examples
My sister was accepted at Emory University but decided to attend the University of Virginia instead.
(compound verb)
What he is saying and how he is behaving are two totally different things. (compound subject)
Television crews covered the Daytona 500 and the Indianapolis 500 races. (compound object)
*Note the rule is always correct; however, writers are allowed freedom in its application. When two independent clauses joined by a conjunction are very short and closely connected in thought, the comma between them may be omitted.
Examples
The phone rang and I answered it.
You can take the bus or you can walk home.
The comma should never be omitted if a sentence would be confusing or unclear without it.
Not Clear
The teacher called on Maria and John began to answer. (Most readers would have to go over this sentence twice before realizing that the writer is not saying The teacher called on Maria and John.)
Clear
The teacher called on Maria, and John began to answer.
If you would like more help in explaining independent clauses (and/or subordinate clauses), let me know and I will be glad to explain. I do hope this often forgotten comma rule, along with explanations for writers, is helpful. Now where did I put my pencil?
Do these comments sound familiar? I know too many writers who say exactly those things about commas, so I thought not only would I strive to improve, but I would give you one of the comma rules to either refresh your memory, or let you practice adding and focusing on one comma rule at a time in your writing.
(This next section, which is included in the parentheses, is for those who always want to know why and who question everything, or for those who want to learn even more; otherwise, skip to the end of the parentheses and to the rule.
When we listen to ordinary speech, we do not hear sounds or words alone; we hear groups of words that we understand as phrases, clauses, or full sentences. We are able to hear these groups of words because the speaker stresses certain words, inserts pauses where they are needed, and changes pitch of voice according to the sense of the sentence.
When we write a sentence, we show these pauses by using marks of punctuation. Not all punctuation conforms to the pauses we use in speech; some, like the semicolon, are used in a traditional way to show grammatical relationships that cannot be expressed by the voice alone. Others, however, match the rise and fall of our voices, called inflection, and the stops, or pauses, we use to separate groups.
When we make a shorter pause (comma), we show a break in thought, as when inserting a nonessential clause or a word or a phrase in apposition. A comma -- sometimes a dash or parentheses -- indicates this half stop in writing.
For many years English writing was marked by extremely full and detailed punctuation that now seems excessive to us. Too much punctuation interferes with easy reading, just as a speaker who continually pauses or stops is hard to understand. Overpunctuation can be avoided by remembering to use a mark of punctuation for only two reasons: (1) because meaning demands it, or (2) because conventional usage requires it. If a sentence is unclear to begin with, punctuation will not clarify it. If you find yourself struggling with the punctuation of a particular sentence, ask yourself whether the trouble lies in your arrangement of phrases or in your choice of words. Often you can eliminate the problem by recasting the sentence.)
Here's one commonly forgotten comma rule: Use a comma before and, but, or, nor, for, yet when they join independent clauses.
Examples
The Drama Club will be putting on Macbeth, and I can hardly wait to audition.
Amy was nervous about computer programming, but after two weeks in the class she was doing well.
I had to follow the recipe carefully, for I had never tried to bake a cake before.
*Note the rule applies to compound sentences, not compound verbs, compound subjects, and the like. In the following examples, commas should not be used.
Examples
My sister was accepted at Emory University but decided to attend the University of Virginia instead.
(compound verb)
What he is saying and how he is behaving are two totally different things. (compound subject)
Television crews covered the Daytona 500 and the Indianapolis 500 races. (compound object)
*Note the rule is always correct; however, writers are allowed freedom in its application. When two independent clauses joined by a conjunction are very short and closely connected in thought, the comma between them may be omitted.
Examples
The phone rang and I answered it.
You can take the bus or you can walk home.
The comma should never be omitted if a sentence would be confusing or unclear without it.
Not Clear
The teacher called on Maria and John began to answer. (Most readers would have to go over this sentence twice before realizing that the writer is not saying The teacher called on Maria and John.)
Clear
The teacher called on Maria, and John began to answer.
If you would like more help in explaining independent clauses (and/or subordinate clauses), let me know and I will be glad to explain. I do hope this often forgotten comma rule, along with explanations for writers, is helpful. Now where did I put my pencil?
Wednesday, July 13, 2011
Gems from Mark Twain
I believe we can learn many things from others, and writers can also learn from other writers. Acclaimed American humorist and writer, Mark Twain, certainly tossed out gems of wisdom about the craft of writing. Following are two of my favorites from which everyone can profit.
Substitute "damn" every time you're inclined to write "very"; your editor will delete it and the writing will be just as it should be.
Mark Twain
How many times do you use "very" in your writing? Ah, this is something we all need to carefully watch as there is much truth in Twain's comment.
Here's the second one:
Don't say the old lady screamed. Bring her on and let her scream.
Mark Twain
As many writing teachers reiterate, "Show; don't tell." When you revise, keep Twain's sound recommendation in mind and look for instances of telling that could be revised, instead, to show.
These are two great pieces of advice from a writing master. I hope you can incorporate these skills into your writing.
Before I close this blog entry, I'll leave you with one more quote from Mark Twain: The difference between the almost right word and the right word is really a large matter - it's the difference between the lightning bug and the lightning.
Happy Writing!
Substitute "damn" every time you're inclined to write "very"; your editor will delete it and the writing will be just as it should be.
Mark Twain
How many times do you use "very" in your writing? Ah, this is something we all need to carefully watch as there is much truth in Twain's comment.
Here's the second one:
Don't say the old lady screamed. Bring her on and let her scream.
Mark Twain
As many writing teachers reiterate, "Show; don't tell." When you revise, keep Twain's sound recommendation in mind and look for instances of telling that could be revised, instead, to show.
These are two great pieces of advice from a writing master. I hope you can incorporate these skills into your writing.
Before I close this blog entry, I'll leave you with one more quote from Mark Twain: The difference between the almost right word and the right word is really a large matter - it's the difference between the lightning bug and the lightning.
Happy Writing!
Sunday, July 3, 2011
The Moody Blues
Like the English rock band The Moody Blues, who early on fused rock with classical, every writer needs to fuse their modern-day writing in two situations with the more classical subjunctive mood.
For those of you more advanced grammarians, here's a fairly easy explanation of what is meant by mood with regard to verbs. (If the term mood fogs your brain, however, simply skip down to the rule.) Verbs are said to be in one of three moods: indicative (most of our writing is in this mood which deals with statement of fact), imperative (used to express a request or command), and subjunctive (used in modern English only to express a condition contrary to fact or to express a wish, and usually applies to only one verb form -- were).
Rule: The subjunctive were is used in contrary-to-fact statements (after if or as though) and in statements expressing a wish.
Contrary to Fact:
If I were you, I'd have those tires checked. (I am not you.)
If he were to proofread his papers, he would make fewer errors. (He does not proofread his papers.)
On a bad telephone connection, it sometimes sounds as though the caller were ten thousand miles away. (The caller is not ten thousand miles away.)
Wish:
I wish my aunt were here for the holidays.
I wish he were not driving so fast.
I hope this helps some of you who've noticed this strange subjunctive mood occurrence in the writing or speech of others. Let's face it -- If I was you, I wouldn't want people to notice my writing mistakes, sounds like something is wrong with the sentence, and is. That's why I gave you the rule above to explain it.
As the Moody Blues sing, "I wonder if you think about it (this grammar rule), Once upon a time, In your wildest dreams."
For those of you more advanced grammarians, here's a fairly easy explanation of what is meant by mood with regard to verbs. (If the term mood fogs your brain, however, simply skip down to the rule.) Verbs are said to be in one of three moods: indicative (most of our writing is in this mood which deals with statement of fact), imperative (used to express a request or command), and subjunctive (used in modern English only to express a condition contrary to fact or to express a wish, and usually applies to only one verb form -- were).
Rule: The subjunctive were is used in contrary-to-fact statements (after if or as though) and in statements expressing a wish.
Contrary to Fact:
If I were you, I'd have those tires checked. (I am not you.)
If he were to proofread his papers, he would make fewer errors. (He does not proofread his papers.)
On a bad telephone connection, it sometimes sounds as though the caller were ten thousand miles away. (The caller is not ten thousand miles away.)
Wish:
I wish my aunt were here for the holidays.
I wish he were not driving so fast.
I hope this helps some of you who've noticed this strange subjunctive mood occurrence in the writing or speech of others. Let's face it -- If I was you, I wouldn't want people to notice my writing mistakes, sounds like something is wrong with the sentence, and is. That's why I gave you the rule above to explain it.
As the Moody Blues sing, "I wonder if you think about it (this grammar rule), Once upon a time, In your wildest dreams."
Tuesday, June 28, 2011
Bag the Baggy Words!
Would you use the following sentence in your writing? Nick walked into the room. How about this one? Jim wore a nice shirt.
Both of those sentences have problems. They contain "Baggy Words." Baggy Words fit like loose jeans that are five sizes too big, and they don't flatter anyone's shape because they are too baggy. How did Nick enter the room? Can you be more specific? Did he saunter into the room? Did he rush? What about stroll, leap, stumble, or shuffle? What if he felt tired? How would he enter? These verbs are far more descriptive and specific.
A writer's diction may be correct but still be vague and imprecise. For example, many writers overuse such vague adjectives as nice, great, and good, and such vague verbs as do, say, and go. Writers should try to find specific adjectives and verbs to say more exactly what they mean.
VAGUE SPECIFIC
The day was nice. The day was mild and breezy.
Julie is a great dancer. Julie moves fluidly and rhythmically when she dances.
I did the grass. I mowed and edged the lawn.
Bridget said good night. Bridget whispered good night.
Jack went through the leaves. Jack shuffled through the leaves.
Suppose you want to describe Jan's dress: Jan wore a red dress. You might want to be more specific about the color: Was it fire-engine red, brick red, or strawberry red? You might want to be more specific about the material: Was it silk, polyester, or wool?
Suppose you write: Mary lived in a small house on Second Street. Can you make the house more specific: a Cape Cod cottage, a split-level, or a row house?
Suppose a dog enters your composition. Make it a specific dog: a loyal old, limping hound; a melancholy-faced, playful poodle.
Need a little practice? The following sentences are general and unspecific. Can you make each one more vivid and specific?
1. The person by the door made a point.
2. She took a vacation.
3. Louie left the house.
4. Flo has nice eyes.
5. The unfavorable weather began on July 4.
Work on being detailed and specific in your writing by getting rid of the Baggy Words. Otherwise, your editor might think you would be better off stuffed in a garment bag.
Both of those sentences have problems. They contain "Baggy Words." Baggy Words fit like loose jeans that are five sizes too big, and they don't flatter anyone's shape because they are too baggy. How did Nick enter the room? Can you be more specific? Did he saunter into the room? Did he rush? What about stroll, leap, stumble, or shuffle? What if he felt tired? How would he enter? These verbs are far more descriptive and specific.
A writer's diction may be correct but still be vague and imprecise. For example, many writers overuse such vague adjectives as nice, great, and good, and such vague verbs as do, say, and go. Writers should try to find specific adjectives and verbs to say more exactly what they mean.
VAGUE SPECIFIC
The day was nice. The day was mild and breezy.
Julie is a great dancer. Julie moves fluidly and rhythmically when she dances.
I did the grass. I mowed and edged the lawn.
Bridget said good night. Bridget whispered good night.
Jack went through the leaves. Jack shuffled through the leaves.
Suppose you want to describe Jan's dress: Jan wore a red dress. You might want to be more specific about the color: Was it fire-engine red, brick red, or strawberry red? You might want to be more specific about the material: Was it silk, polyester, or wool?
Suppose you write: Mary lived in a small house on Second Street. Can you make the house more specific: a Cape Cod cottage, a split-level, or a row house?
Suppose a dog enters your composition. Make it a specific dog: a loyal old, limping hound; a melancholy-faced, playful poodle.
Need a little practice? The following sentences are general and unspecific. Can you make each one more vivid and specific?
1. The person by the door made a point.
2. She took a vacation.
3. Louie left the house.
4. Flo has nice eyes.
5. The unfavorable weather began on July 4.
Work on being detailed and specific in your writing by getting rid of the Baggy Words. Otherwise, your editor might think you would be better off stuffed in a garment bag.
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