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    Art of Styling Sentences
    Art of Styling Sentences
    Art of Styling Sentences
    Ebook228 pages2 hours

    Art of Styling Sentences

    By Barron's Educational Series, Ann Longknife and K. D. Sullivan

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    About this ebook

    A must-have for any student or aspiring writer, this book reviews the fundamentals of good sentence structure: Conventions of writing style change in subtle ways with passing years—a fact that prompts the need for periodic revisions of books like this one. The authors review the fundamentals of good sentence structure and then go on to describe twenty basic sentence patterns that encompass virtually every effective way of writing sentences in English. They also draw on passages by current prominent writers, using these examples to show how varying rhythm and sentence patterns can result in elegant writing styles that keep their readers interested. Exercises with answers and explanations appear throughout the text. Overflowing with practical and useful advice, this little gem will change the way people write.
    LanguageEnglish
    PublisherBarrons Educational Services
    Release dateJun 20, 2012
    ISBN9781438083353
    Art of Styling Sentences

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      Book preview

      Art of Styling Sentences - Barron's Educational Series

      Suggestions for the Instructor

      Teaching by imitation is not new, but may be unfamiliar to some new instructors. Others may have used the technique for some time. In this section we offer guidelines to help instructors use this book effectively so that their students will produce papers that are fun to write and fun to read. Following are some ways to use the material in CHAPTERS 1 and 2.

      SUGGESTIONS FOR TEACHING CHAPTER 1

      As we said in the introduction, CHAPTER 1, The Sentence, does not pretend to be a complete discussion of sentence structure. The English sentence took several centuries to develop and is, as Sir Winston Churchill said, a noble thing indeed. There are entire books dedicated to an explanation of it; hence our coverage is minimal.

      The main thing to do with CHAPTER 1 is to review with your class the important slots in the standard sentence—subject, verb, object, complement, modifier, and connector. Be sure the students understand the terms and the functions of each. Give them some class practice in separating subjects from verbs in their current reading. It is sometimes easier for them to find the essential skeleton of the sentence if they first cross out, or put in parentheses, all the prepositional phrases (which are usually modifiers, anyway). They can take these from their current reading—a textbook, the sports page, an advertisement, lyrics of a popular song, or the label on a ketchup bottle, or a soda can! This is an effective exercise because prepositional phrases are nearly always modifiers and almost never a part of the basic sentence. Then let them discuss the differences between phrases and clauses, between independent and dependent structures, between declarative and imperative sentences. Never assume that students will be adept at this kind of analysis. Guide them carefully with detailed explanations and many examples.

      SUGGESTIONS FOR TEACHING CHAPTER 2—THE PATTERNS

      CHAPTER 2, The Twenty Patterns, is the heart of this book. It contains enough material to keep your students busy throughout the semester as they incorporate the material into their compositions. Pace your discussions to fit your class; don’t go faster than your students can master the techniques, and never try to cover more than three patterns in any one class period. Since there is a logical grouping and arrangement of the patterns, you may find it easier to go straight through from PATTERN 1 to PATTERN 20.

      You will need to explain each of these patterns in great detail; you will also need to justify the rationale of the punctuation. Before you start with PATTERN 1, write some sentences on the board and review the sentence structure from CHAPTER 1.

      Now, with your class, create appropriate graphic symbols to use when you analyze and discuss sentences. For example, you can use a double bar (||) to separate subject and verb in independent clauses, or brackets to set off dependent clauses.

      1. Draw one line under the main clause (in this case, the entire sentence):

      More people now realize the importance of recycling.

      2. Dramatize what happens when there are two independent clauses in the same sentence:

      We || read (to do more than recycle); we || also need (to conserve the resources we have).

      Draw a circle between the two independent clauses (which could be separate sentences); then explain that only four things can replace the circle:

      a. a period, which would separate the clauses into two sentences;

      b. a coordinating conjunction (for, and, nor, but, or, yet, so)—which can be remembered with the mnemonic FANBOYS—preceded by a comma;

      c. a semicolon, sometimes followed by a connective such as therefore or however;

      d. a colon, but only if the second clause explains or extends the idea of the first.

      3. Use brackets to set off a dependent clause, and clarify its function as PART of the independent clause; use a single bar to separate the subject and the verb in the dependent clause:

      Marcie || bought [whatever she | wanted].

      (noun clause used as direct object)

      [What Tatum | needs] || is more discipline.

      (noun clause used as subject)

      The little children || played [where the fallen leaves | were deepest.]

      (dependent adverbial clause)

      4. Use a wavy line under an absolute phrase:

      The war being over at last,

      5. Use a circle around connectors and other nonfunctional terms.

      Next, it might be fun to show that these constructions work even with nonsense words. Provide one or two examples, and then let students put their own creations on the board and explain them.

      A bronsly sartian || swazzled (along the tentive clath).

      Yesterday I || thrombled (down the nat-fleuzed beach) [where glorphs and mizzles | lay (in the sun)].

      After this review, the class should be ready to tackle the first group of sentence patterns—the compounds. Each of them is really just two sentences in one, but you must make clear the vast differences that are possible. Now is the time to have the class really master the Checkpoints under PATTERN 3, which cover the differences in the three compounds.

      For exercises beyond those that accompany the pattern explanations, consider these ideas:

      1. Follow your discussion of particular patterns by asking students to write ten sentences of their own using the patterns you assign. Have students label each sentence with the number of the pattern in the left margin. The advantage of this book is the control you have through the pattern numbers. For subject matter students can draw upon their reading, hobbies, sports, and other interests. If for any given assignment the entire class uses the same topic or idea, have the students compare how many different arrangements of words can express the same idea, but each with slightly different emphasis or rhythm.

      2. Use SENTENCE PATTERN 1, the compound with a semicolon and without a conjunction, to teach or to test vocabulary. In the first clause of the compound sentence have students use and underline the given word; in the second clause have them define that word.

      EXAMPLE:

      Zen Buddhism is an esoteric philosophy; only the initiated really understand it.

      OR THIS VARIATION:

      The Greek root chrono means time; a chronometer measures time accurately. (See how much you can teach about punctuation in a sentence with this structure!)

      3. Assign ten vocabulary words, each to be written in a different sentence pattern. Have students underline the vocabulary word and label the pattern by number in the left margin. When students give the pattern number of the structure they are imitating, you can check the accuracy of their understanding of the pattern at the same time you are checking the vocabulary word.

      4. Require students to have at least one different pattern in each paragraph of their compositions. Have them write the number of the pattern they are imitating in the left margin. See Marginalia: to encourage deliberate craftsmanship for more ways of encouraging students to analyze their writing as they improve their craftsmanship.

      5. Have students collect interesting sentences from their reading and make a booklet of fifteen or twenty new and different patterns, with no more than two or three sentences plus analysis on each page. They may simply copy sentences they find, or they may clip and paste them in their booklets, leaving room for a description (analysis) of each sentence in their own words.

      6. Take a long, involved sentence from the assigned reading; have your students rewrite it several times using four or five different sentence patterns. (These revisions may have to contain some words that the original does not have.) Have students read these sentences aloud in class, commenting on the various effects thus achieved.

      7. Point out the effectiveness of incorporating PATTERN 8 (the one with two or three dependent clauses) into a thesis or of using it to forecast main points in the introduction or to summarize in the conclusion.

      8. Toward the end of the term, after they have mastered the patterns and know them by number, have students analyze some of their current reading, even from other courses. Have them write in the margin the numbers of the sentence patterns they find. (See CHAPTER 5 for two examples.)

      9. Some of the example sentences for analysis are from professional writers; they are often convoluted and excessively detailed. Yet they can be springboards for discussion of such things as style, punctuation, sentence length, level and appropriateness of vocabulary, content, or even historical information.

      10. At the end of the term, have the students compare their first attempts to their current efforts. They’ll be surprised (and pleased) to see the improvement.

      Suggestions for the Student

      HOW TO GET THE MOST FROM THIS BOOK

      The suggestions and exercises below may seem too simple or too artificial at first sight, but if you make a game of playing around with words, of fitting them to a formula, you will learn how to write sentences that have flair and variety, and that is a skill worth developing. A well-constructed sentence is, like any artful design, the result of sound craftsmanship; it actually involves and requires:

      a. good composing or construction

      b. appropriate punctuation

      c. a feeling for the rhythm of language

      d. an understanding of idiom

      e. clarity of expression

      f. recognition of the power of logical arrangement

      If you are not in a composition class, but are working alone without a teacher’s guidance, the suggestions below will help you to get the most out of this book, so follow them carefully. Don’t be afraid to copy a pattern and fit your own words into it. Remember that every great craftsman begins as an apprentice imitating a master. By following the suggestions below and mastering the patterns, you will increase your skill in the art of styling sentences.

      1. Study one pattern at a time. Write four or five sentences that follow that pattern exactly, especially the punctuation. Go through all twenty patterns in CHAPTER 2, taking only one at a time, until you are confident you understand the structure and the punctuation. Practice, practice—and more practice; this is the only way to learn.

      2. In every paragraph you write, try to incorporate one or more of these patterns, especially when you find yourself tending to write short, simple sentences having the same kind of subject-verb structure. Keep trying to improve the quality and arrangement of all of your sentences, whether they follow one of these patterns or not.

      3. Think of something you want to say and then practice writing it in three or four different ways, noticing the changes in effect and tone when you express the same idea with different patterns and punctuation. Since you may not be aware of these changes when you read silently, read aloud often to train your ear.

      4. Analyze your reading material for eye-catching sentences, ones that you think have striking patterns you could imitate. (CHAPTER 5 shows

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