Elements 2: Composition Flashcards
C2-12-What is the first principle of composition?
The first principle is to forsee or determine the shape of what is to come and pursue that shape.
Writing to be effective, must follow closely the thoughts of the writer, but not necessarily in the order in which those thoughts occur.
13a-How long should a paragraph be?
It can range from a single sentence to a passage of great length
C2-13b-What should the begining of each paragraph do?
Signal that a new step in the development of the subject has been reached
As a rule, begin each paragraph either with a sentence that suggests the topic or with a sentence that helps the transition
C2-13c-How should dialogue be broken down into paragraphs?
Each speech, even if only a single word, is usually a paragraph by itself
C2-13d-What should be considered in deciding whether to split a paragraph in two?
Long blocks of print can be formidable to the reader and hence breaking into two can be a visual help
However, paragraph breaks used only for show can read like display advertising
Hence, moderation and a sense of order should be the main considerations in paragraphing
C2-14-What are the benefits of using the active (vs. passive) voice? when is the passive voice appropriate?
The active voice is usually more direct, concise, and bold/vigorous than the passive
However there are times where the passive is more appropriate depending on which ‘subject’ needs to be emphasized
C2-15a-Why is preferrable to use the positive vs negative (use of ‘not’)? When is the use of the negative (not) appropriate?
The reader wishes to be told what is (positive) and is dissatisfied with being told what is not (negative)
Use the word ‘not’ as a means of denial or in antithesis, never as a means of evasion
15b-When should auxiliaries ‘would, should, could, may, might, and can’ be used?
It should be used for situations involving real uncertainty or will otherwise admit doubt
C2-16-Use definite, specific and concrete language. What is the alternative?
Vague (vs. Definite)
General (vs. Specific)
Abstract (vs. Concrete)
C2-17-Omit needless words. A sentence should contain no unnecessary words, a paragraph no unneecessary sentences. What are common unnecessary words or expressions
Common unnecessary expressions (alternatives in brackets):
-the question as to whether (whether)
-there is no doubt but that (no doubt)
-used for fuel purposes (used for fuel)
-he is a man who (he)
-this is a subject that (this subject)
-her story is a strange one (her story is strange)
-the reason why is that (because)
-owing to the fact that (since or because)
-the fact that I had arrived (my arrival)
Also ‘who is’ and ‘which was’ can be superfluous
C2-18-What should replace a succession of loose sentences? (specifically a series of sentences consisting of 2 clauses that are too compact and periodic)
A writer who has written a series of loose sentences should recast enough of them to remove the monotony, replacing them with simple sentences, sentences of two clauses joined by a semicolon, sentences (loose or periodic) of three clauses.
A loose sentence starts with the main idea (independent clause) and adds details or modifiers afterward, making it straightforward and easy to read. A periodic sentence delays the main idea until the end, building suspense or emphasis with modifiers and subordinate elements first. Loose sentences are conversational, while periodic ones feel formal or dramatic
C2-19-Express coordinate ideas in similar form. Provide examples.
The French, the Italians, the Spanish and the Portuguese (VS: the French, the Italians, Spanish and Portuguse) *note use of ‘the’
His speech was marked by disagreement with and scorn for his opponent’s position (VS: leaving out ‘with’ but keeping ‘for’)
The ceremony was both long and tedious (VS: It was both a long ceremony and very tedious)
C2-20-Why is it important to keep related words together? What are some rules to ensure this?
The position of the words in a sentence is the principal means of showing their relationship. Confusion and ambiguity result when words are badly placed. A few guidelines:
-The subject of a sentence and the principal verb should not, as a rule, be seperated by a phrase or clause that can be transferred to the begining
-The relative pronoun should usually come immediately after its antecedent
-If the antecedent consists of a group of words, the relative comes at the end of the group (unless this would cause ambiguity)
-A noun in apposition (a noun that explains, renames, or identifies the first one) may come between the antecedent and relative pronoun, because in such a combination no real ambiguity can arise
-Modifiers should come next to the words the modify (e.g. She found only two mistakes VS She only found two mistakes)
C2-21-In summaries, keep to one tense. What are some additional guidelines?
Generally the present tense should be used for a summary of a novel or poem but the past may be used if it seems more natural.
If the summary is in the present tense, antecedent action should be expressed in the perfect (present perfrect); if in the past, by the past perfect.
Whichever tense is used, a past tense in indirect discourse remains unchanged.
In reporting a speech, do not overwork ‘he said’ or ‘she said’ etc; indicate clearly at the outset, what follows in the summary and then waste no words in repeating the notification.
In the critisism or interpretation of literature, be careful to avoid dropping into summary.
C2-22-Where should emphatic words of a sentence be placed?
The proper place in the sentence for the word or group of words that the writer desires to make most prominent is usually the end.
The other prominent position in the sentence is the beginning. Any element in the sentence other than the subject become emphatic when placed first.
To receive special emphasis, the subject of a sentence must take the position of the predicate.
Note that the principle that the proper place for what is to be made most prominent is end applies equally to the words of a sentence, to the sentences of a paragraph, and to the paragraphs of a composition.
