[identity profile] mbarker.livejournal.com
Original Posting 17 Jan 2010

[a rambling...]

Blogging, tweeting, social networks, all the fuss and fury of people in all kinds of walks of life busily expressing themselves -- misspelling words, turning grammar inside out, letting sentences run madly through fields of commas, outstripping punctuation, and what they are using for topics, characters, settings, and so forth? Mama mia, it's a mess!

But.

Having read your brother's ramblings. Having scratched your head about that tweet from a friend that lacked a hint of the context. And used funny spelling -- UR2? LOL? Having read all the complaints and gripes about something that turns out to have been a misunderstanding to start with. Having endured all of that, you might just be ready to enjoy a well-written short story, novel, or even poetry.

I'm suspicious that when we say that only professionals, experts, those who are inspired by some strange muse above and beyond the normal drivel -- only those people should be allowed to practice writing, we are also likely to be restricting reading. And without reading, well, writing is a bit like painting in the dark, it may be somewhat engaging for the artist, but it's not particularly interesting for the audience.

On the other hand, when people are busily engaged in writing and reading as amateurs, that's when they really appreciate the well turned phrase, characterization, observation that makes settings come to life, and all the rest of the panoply of writerly tools.

It's the other side of the 90% rule -- to get a lot of good stuff, you've got to do a lot of wading through the other kind of stuff. But then you really appreciate the good stuff you find, or sometimes even come up with yourself. And if only a few people -- the professionals -- are writing, the amount of good stuff is limited. And if there isn't enough, you may lose critical mass, drop below the point that supports mass publication. So we really want lots of people to be reading, which means lots of people writing -- even if great bales of it are everyday trivia, with all of the confusion and misunderstanding and misspelling and misstatement and other mistakes that are likely to crop up.

Trying to sketch, dabbling with watercolors and oils and pastels, learning a little bit about perspective and masses and all that artistic stuff -- it makes me really appreciate what the artists are doing. It certainly doesn't make me a great artist, but it gives me a better understanding of what's going on, of what they are trying to do.

In the same way, the spreading culture of writing and reading that goes with blogging, tweeting, social networks, and all the rest of the digital froth helps ensure that there are lots of people who read, who have tried to tell a little story and appreciate that it's hard.

Will blogs kill writing? No way. Sure, the pile of 90% is getting bigger and bigger, but that also means that if you dig a little bit, you can find some saltpeter, to let you make gunpowder. And that leads to fireworks! Or maybe even a diamond in the rough?

If you want to kill writing, restrict it to a few specialists. Make it something that only the high priests and critics are allowed to practice. That would choke off the practice of reading and writing pretty fast.

But if you want to encourage it, let the blogs run rampant, the tweeters twit, and the social networks lace everything together. Then figure out how to find and reward the 10%. That's the hard part right now.

I think there's a lot more to say, but I've rambled enough for now. So... what do you think? Are you ready for reading and writing to become a popular sport?

Write!
[identity profile] mbarker.livejournal.com
Original posting 13 March 2009

A Grammatical Checklist

Writers Digest, August 2006, Freelancers Workshop by David A. Fryxell, has the title "Master the Nitty-Gritty." It focuses on what he identifies as nine grammatical errors. Just little stuff, except that an editor who finds this may just decide you haven't learned your craft. So spend a little extra time and get it right. Here they are (note: the short tags are intended to help us remember what the point is -- the article has more details.)
  1. It's versus its -- It is or its?
  2. Comma versus semicolon -- Some sentences like a comma splice, others need a semicolon?
  3. Quotation marks with punctuation -- "How do you punctuate this?"
  4. Literally -- often figuratively, but hold the adverb
  5. Unique -- unusual, or actually one and only one?
  6. Subject-verb agreement -- watch for phrases in the middle. Only one of us are right? No, only one of us is right.
  7. Misplaced modifiers -- dangling modifiers. In the middle of the street, he saw a dogfight. So was he in the middle of the street, or was the dogfight in the middle of the street?
  8. Mixed tenses -- when I eat hot dogs, I burped. It embarrasses me.
  9. Only -- this little word likes to wander. Try to keep it close to the word it modifies.
"Don't let fear of a grammatical mistakes paralyze you, and don't let grammar myths make your writing stiff and fussy."
You may not agree with his list, but you may find it useful to make a list of your own. What are the little punctuation, usage, and grammar slips that find their way into your work? Make your own checklist, and use it to put the final polish on submissions.

a beautiful balloon -- punctured?
[identity profile] mbarker.livejournal.com
Original posting 8 December 2008

These caught my eye. On an electronic banner display in the front of the airport bus . . .
All the way and before completely stopped, please keep sitting in the seats.

Please get yourself well seated before the bus gets started.
The funny part of both of these is that they are perfectly clear, just not the way a native language speaker would phrase them. So what do they mean, how would you phrase them, and what's wrong with the way these are phrased?
[identity profile] mbarker.livejournal.com
Original posting: Fri, 6 Jun 1997 15:07:10 EDT

In consideration of woofie's question about diagramming, I found the following explication of "grammar" in Britannica Online...and expanded on it just a bit for the fun of it.

[warning, here there be low punnery and other attempts at humor on a Friday...so don't you be gibing at the jibberish--or is that jibing at the gibberish?:-]

:) Contemporary linguists define grammar as the underlying structure of a
:) language that any native speaker of that language knows
:) intuitively. The systematic description of the features of a language
:) is also a grammar. These features are the phonology (sound),

phrownology? ain't that the scheme of the bumps on your noggin, or maybe how you hit your head against the wall? ah, that's it, the fine clump-clog-ppp'hop of cranium against cheap walling, that's the sound of grammar!

:) morphology (system of word formation), syntax (patterns of word

morephology? did I get some phology to start with? phology, phology, eh what grand phology that has such nonsense in it?

syntax? I didn't even pay for it, and now you want to tax it, too? Does this mean English teachers are related to the infernal revenue snakes?

:) arrangement), and semantics (meaning) that all native speakers of a
:) language control by about the age of six. Depending on the

yes! Having lost control, with the horrid semantics crawling everywhere and nipping little bloody bites and knicks in the skin that itch something fierce, I induce that either I am not all native speakers of a language (of course not, you twit, you're only a speck on the windshield of the internetmobile as it passes) OR perhaps I am not yet six!

(and what strange magic does six hold? is that the age of grammar, when the neural damage is done that freezes the lingua franca into a mere lingua locale? or is it something deeper, darker, odder that binds the six years of age to the sides of a die, shaking the linguistic mastery in a cup of random change?]

Farcical! no, never near cycle, but truly far out acyclical randomness...

as pharisee could sea, the waves crested.

:) grammarian's approach, a grammar can be prescriptive (i.e., provide
:) rules for correct usage), descriptive (i.e., describe how a language
:) is actually used), or generative (i.e., provide instructions for the
:) production of an infinite number of sentences in a language).

He took his prescription, just as you descript him, and generative sprung up the wild sentences of yore!

I think grande grammar would be proud of moi!
tink
[identity profile] mbarker.livejournal.com
Original posting: Thu, 14 Dec 2000 00:42:06 -0500

Hi...

Here's a thought.  Take one of those wonderful confusions of the grammatically oriented, and write a bon mot, a poem, perhaps a tale focusing on the differentia?  In other words, provide a memorable little way of both recognizing the possible confusion, understanding the difference, and remembering the recommended way out!

For example, one might choose to venture into the difference between and betwixt "they're" and "their".  Perhaps a slight of dialog (careful, it may not be possible to write the sentence you're thinking of!) and a bit of a humorous chuckle at your cleverness in using that slip of the thought between what you are thinking and what your mind is doing?

Anyway, I'm certain you have your favorite grammatical point to grind, and perhaps you're already writing?

Go ahead, raise a point of grammar, and grind it fine!
[identity profile] mbarker.livejournal.com
Original posting: Sun, 27 Oct 1996 23:02:47 EST

This is a bit late, but...

[based on "St. Martin's Guide to Teaching Writing" by Robert Connors and Cheryl Glenn, ISBN 0-312-06787-9, p. 233...]

W. Ross Winterowd in a 1970 article "The Grammar of Coherence" argued that transitions (at the paragraph or "discourse bloc" level) are crucial to form and coherence, with coherence being consistent relationships among transitions. His seven relationships and the terms that express such relationships are:
  1. Coordination - and, furthermore, too, in addition, also, again
  2. Obversativity - but, yet, however, on the other hand
  3. Causativity - for, because, as a result
  4. Conclusativity - so, therefore, thus, for this reason
  5. Alternativity - or
  6. Inclusativity - the colon
  7. Sequentiality - first, second, third; earlier...later, etc.
[please allow me to express my extreme displeasure at such ugly labels - obversativity, indeed! They could have used And, But, For, So, Or, Inclusion and Order, but no, they had to take a healthy word like Cause or maybe Causality and wring its little spine into Causativity? Yech, poo, some English instructors should be tested for linguistic sensitivity and then fired!]

Okay. The exercise assumes you have a piece of your very own sitting there in front of you. It can be an essay, fiction, even (horrors!) poetry.

First, go through the piece and identify the "discourse blocs" - the chunks you have used in writing the piece.

Next, look at the transitions used to tie the pieces together. Butt joints in writing, like those in carpentry and plumbing, need some finishing - a little smoothing and glue to help the reader across without splinters in their head from the edges.

So identify your transitions. Consider whether they are the best for this part of your piece, or whether another one might be better suited.

Simple, right? Just walk through your piece and make sure you have used transitions between the various pieces.

But...try it. You may find that just making sure the transitions are correct helps make the structure of your piece coherent and well-developed, which makes the whole piece work better. It's a little like the chiropractor manipulating your spine - get it right and everything works well, leave it crooked and nothing seems to fit.

playing schoolmaster

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