This document summarizes Kurt Vonnegut's advice on developing an effective writing style. He recommends:
1) Choosing a subject you genuinely care about and feel others should care about too.
2) Keeping language simple and focused on illuminating your subject.
3) Sounding like yourself and allowing influences from your background to shape your voice.
4) Respecting readers by organizing your thoughts clearly and cutting anything that does not add value.
Because I find Alito Malinao's Rules on Clear & Effective Writing very helpful for students, I came up with this presentation. I also have included some examples or additional information which I got from various sources.
Because I find Alito Malinao's Rules on Clear & Effective Writing very helpful for students, I came up with this presentation. I also have included some examples or additional information which I got from various sources.
ESSAYMother TongueDont judge a book by its coveror so.docxSANSKAR20
ESSAY
Mother Tongue
Don't judge a book by its cover
or someone's intelligence by her English.
By Amy Tan • Art by Gabe Leonard
I am not a scholar of English or literature. I cannot
give you much more than personal opinions on the
English language and its variations in this country
or others.
I am a writer. And by that definition, I am
someone who has always loved language. I am
fascinated by language in daily life.
I spend a great deal of my time thinking
about the power of language—the way it can
evoke an emotion, a visual image, a complex
idea, or a simple truth. Language is the tool of
my trade. And 1 use them all—all the Englishes
1 grew up with.
Recently, I was made keenly aware of the
different Englishes I do use. I was giving a talk to a
large group of people, the same talk I had already
given to half a dozen other groups. The talk was
about my writing, my life, and my book The Joy
Luck Club, and it was going along well enough,
until I remembered one major difference that
made the whole talk sound wrong. My mother was
in the room. And it was perhaps the first time she
had heard me give a lengthy speech, using the kind
of English I have never used vn\h her. I was saying
things like "the intersection of memory and imagi-
20 READ October 6. 2006
nation" and "There is an aspect of my Fiction that
relates to thus-and-thus"—a speech filled with
carefully wrought grammatical phrases, burdened,
it suddenly seemed to me, with nominalized forms,
past perfect tenses, conditional phrases, forms of
standard English that I had learned in school and
through books, the forms of English I did not use
at home with my mother.
Just last week, as 1 was walking dovm the street
with her, I again found myself conscious of the
English I was using, the English 1 do use with her
We were talking about the price of new and used
furniture, and I heard myself saying this: "Not waste
money that way." My husband was with us as well,
and he didn't notice any switch in my English. And
then I realized why. It's because over the twenty
years we've been together I've often used the same
kind of English with him, and sometimes he even
uses it with me. It has become our language of inti-
macy, a different sort of English that relates to
family talk, the language I grew up with.
vccah
KEENLY: sharply
WROUGHT: put together, created
LANGUAGE
BARRIERS
You should know that my mother's
expressive command of English belies
how much she actually understands.
She reads the Forbes report, listens to
Wall Street Week, converses daily with
her stockbroker, reads Shirley
MacLaine's books with ease—all
kinds of things I can't begin to under-
stand. Yet some of my friends tell me
they understand fifty percent of what
my mother says. Some say they
understand eighty to ninety percent.
Some say they understand none of it,
as if she were speaking pure Chinese,
But to me, my mother's English is
perfectly clear, perfectly natural. It's
my mother tongue. Her language, as
I hear it, is ...
I love that moment at the end of the day, or the end of the we.docxwilcockiris
I love that moment at the end of the day, or the end of the week, or the
end of the manuscript, which might be a couple of years, when I am
reading it over and thinking , “This is what I meant to do. This is how I
wanted it to sound.”
–Anna Quindlen
Learning Objectives
After reading this chapter, you
should be able to:
1. Recognize the common misconcep-
tions and fears about the writing
process.
2. Describe the challenges and rewards
of the writing process.
3. Summarize the difference between
formal and informal language, and
identify the reasons to avoid code
switching.
4. Explain how to utilize useful tools
for writers, including style guides,
thesauruses, and etymological
dictionaries.
5. Apply the use of resources such as
online libraries, writing centers, and
tutoring services.
1Introduction to College Writing
James Woodson, Digital Vision/Getty
con80878_01_c01.indd 1 8/26/13 12:51 PM
CHAPTER 1Section 1.1 Good Writers Are Made, Not Born
Writing can be an enjoyable and rewarding process, and this class is an opportunity for
you to strengthen your writing skills and to learn the methods of college writing. The
writing process gives back to you, the writer, what you put into it. Writing helps you
discover what you think. Have you ever written down your thoughts about a subject in a
journal or notebook? If so, chances are that in doing so you learned something about your
own thought process. While much of the writing that you will do for a college course will
not be personal, all writing is reflective. In fact, journaling your thoughts on any writing
assignment can be a great way to start sorting out what you will write in the essay.
One of America’s most famous authors, William Faulkner, once claimed that, “A writer
needs three things: experience, observation, and imagination, any two of which, at times
any one of which, can supply the lack of the others” (Faulkner, 1968, p. 248). If Faulkner—
who wrote and revised tirelessly—had faith that the writing process could be cultivated
so easily, then becoming an effective writer is a possibility for most people. This chapter is
an introduction to the tasks, requirements, and elements of writing, and to the resources
available to help you create well-written college papers.
1.1 Good Writers Are Made, Not Born
Some students believe that writing is an inborn talent: You either have it, or you do not—but this is completely untrue. So-called “good” writers commit time to work-ing on their writing, including revising. Since writing is an acquired skill, anyone can
become a good writer through a combination of hard work and commitment. Reading
formal or informal writing extensively is also an excellent way to work on one’s writing.
Through reading and paying attention to various writing structures and techniques, writ-
ers build a stronger vocabulary, a sense of how to organize ideas, and an understanding
of writing structure.
You might be surp.
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On becoming a writer
Born in Virginia in 1925, Russell Baker began his professional writing career with the Baltimore Sun in 1947, after attending Johns Hopkins University. In 1973 he won a Pulitzer for commentary for his nationally syndicated column, “Observer,” which he wrote for the New York Times from 1962 to 1998. Baker is the author of a Pulitzer Prize–winning memoir Growing Up (1982) and Looking Back: Heroes, Rascals, and Other Icons of the American Imagination (2002) and has edited numerous books. Baker’s writing regularly appears in the New York Times Magazine, Sports Illustrated, and McCalls. The following selection is excerpted from Growing Up. Russell Baker’s literacy narrative focuses on his dream of becoming a writer. As you read his piece, think about your own dreams. How can college help you achieve those dreams?
The only thing that truly interested me was
writing, and I knew that sixteen-year-olds did
not come out of high school and become writers.
I thought of writing as something to be done only
by the rich. It was so obviously not real work, not
a job at which you could earn a living. Still, I had
begun to think of myself as a writer. It was the
only thing for which I seemed to have the smallest
talent, and, silly though it sounded when I
told people I’d like to be a writer, it gave me a way
of thinking about myself which satisfi ed my need
to have an identity.
The notion of becoming a writer had fl ickered
off and on in my head since the Belleville days,
but it wasn’t until my third year in high school
that the possibility took hold. Until then I’d been
bored by everything associated with English
courses. I found English grammar dull and baffl
ing. I hated the assignments to turn out “compositions,”
and went at them like heavy labor,
turning out leaden, lackluster paragraphs that
were agonies for teachers to read and for me to
write. The classics thrust on me to read seemed
as deadening as chloroform.
When our class was assigned to Mr. Fleagle
for third-year English I anticipated another grim
year in that dreariest of subjects. Mr. Fleagle was
notorious among City students for dullness and
inability to inspire. He was said to be stuffy, dull,
and hopelessly out of date. To me he looked to be
sixty or seventy and prim to a fault. He wore primly severe eyeglasses,
his wavy hair was primly cut and primly combed. He wore prim vested
suits with neckties blocked primly against the collar buttons of his primly
starched white shirts. He had a primly pointed jaw, a primly straight nose,
and a prim manner of speaking that was so correct, so gentlemanly, that
he seemed a comic antique.
I anticipated a listless, unfruitful year with Mr. Fleagle and for a long
time was not disappointed. We read Macbeth. Mr. Fleagle loved Macbeth and wanted us to love it too, but he lacked the gift of infecting others with his
own passion. He tried to convey the murderous ferocity of Lady Macbeth
one day by reading aloud the passage that concludes
. ...
Dissecting the first pages of famous mystery novels, with comments about what makes them good openings (from a presentation at the Mystery Writers of America "Sleuthfest" conference in Deerfield Beach, Florida)
When most people in the industry talk about online or digital reputation management, what they're really saying is Google search and PPC. And it's usually reactive, left dealing with the aftermath of negative information published somewhere online. That's outdated. It leaves executives, organizations and other high-profile individuals at a high risk of a digital reputation attack that spans channels and tactics. But the tools needed to safeguard against an attack are more cybersecurity-oriented than most marketing and communications professionals can manage. Business leaders Leaders grasp the importance; 83% of executives place reputation in their top five areas of risk, yet only 23% are confident in their ability to address it. To succeed in 2024 and beyond, you need to turn online reputation on its axis and think like an attacker.\
Key Takeaways:
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The digital marketing industry is changing faster than ever and those who don’t adapt with the times are losing market share. Where should marketers be focusing their efforts? What strategies are the experts seeing get the best results? Get up-to-speed with the latest industry insights, trends and predictions for the future in this panel discussion with some leading digital marketing experts.
In this presentation, Danny Leibrandt explains the impact of AI on SEO and what Google has been doing about it. Learn how to take your SEO game to the next level and win over Google with his new strategy anyone can use. Get actionable steps to rank your name, your business, and your clients on Google - the right way.
Key Takeaways:
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It's another new era of digital and marketers are faced with making big bets on their digital strategy. If you are looking at modernizing your tech stack to support your digital evolution, there are a few can't miss (often overlooked) areas that should be part of every conversation. We'll cover setting your vision, avoiding siloes, adding a democratized approach to data strategy, localization, creating critical governance requirements and more. Attendees will walk away with actions they can take into initiatives they are running today and consider for the future.
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The Forgotten Secret Weapon of Digital Marketing: Email
Digital marketing is a rapidly changing, ever evolving industry--Influencers, Threads, X, AI, etc. But one of the most effective digital marketing tools is also one of the oldest: Email. Find out from two Houston-based digital experts how to maximize your results from email.
Key Takeaways:
Email has the best ROI of any digital tactic
It can be used at any stage of the customer journey
It is increasingly important as the cookie-less future gets closer and closer
[Google March 2024 Update] How To Thrive: Content, Link Building & SEOSearch Engine Journal
March 2024 disrupted the SEO industry. Websites were deindexed, and manual penalties were delivered—all to produce more helpful, more trustworthy search results.
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Watch us as we delve into the seismic shifts brought about by Google's March 2024 updates and explore strategies to not just survive, but thrive in this dynamic digital landscape.
You’ll learn:
- How to create content that is valuable to users (not just search engines) using E-E-A-T.
- How to build links that can boost rankings and withstand algorithm updates.
- Best practices for content creation and link building so you can thrive during algorithm updates.
With Vince Ramos, we'll examine the implications of the latest algorithm changes on content creation, link building, and SEO practices, and offer actionable insights from businesses like yours that have remained steadfast amidst the volatility.
Using real-life case studies, we’ll also show you the effectiveness of manual link building techniques and person-first content strategies.
Whether you're a seasoned SEO professional, a budding content creator, or anyone in between, this webinar will help you weather the changes in Google's algorithms and capitalize on them for sustained success.
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In this presentation, Danny Leibrandt explains the impact of AI on SEO and what Google has been doing about it. Learn how to take your SEO game to the next level and win over Google with his new strategy anyone can use. Get actionable steps to rank your name, your business, and your clients on Google - the right way.
Key Takeaways:
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2. Find ways to show EEAT
3. Repurpose across all platforms
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Consumer Journey Mapping & Personalization Master Class - Sabrina Killgo
Writing with style - Kurt Vonnegut
1. 66 IEEE IRANSACTIONS OK PROFESSIONALCOMMUSICA-SION. VOL. PC-24. NO. 2, JUNE 191
Howtowritewithstyle
ByKurtVonnegut
I n t n w n m l Puper uqked Kun U m n ~ p t ,uurhur
of such noucls LU "Slaughtc7hou<e-F~vr."'ymlblrd"
and "Cat's Cradle." to reU jou how to put your
sryk andp ~ ~ s o d t ylnro eumyrhtng you wnw.
Newspaper reporters and technical
writers are trained to reveal almost
nothing about themselves in
their writings. This makes them
fieaks in the world of writers, since
almost all of the other ink-stained
wretches in that world reveal a lot
about themselves to readers. We
call these revelations, accidental
and intentional, elements of style.
These revelations tell us as
readers what sort of person it is
with whom we are spending time.
Dws the writer sound ignorant or
informed, stupid or bright, crooked
or honest, humorless or playful - ?
And on and on.
Why should you examine your
writing style with the idea of im-
proving it? Do so as a mark of re-
spect for your readers, whatever
you're writing. If you scribble your
thoughts any which way, your
readers will surely feel that you care
nothing about them. They will
mark you down as an egomaniac
or a chowderhead -or, worse, they
will stop reading you.
The most damning revelation
you can make about yourself is that
you do not know what is inter-
esting and what is not. Don't you
yourself like or dislike writers
mainly for what they choose to Simplicity of language is not
show you or make you think about? only reputable, but perhaps even
Did you ever admire an empty- sacred. The Bibk opens with a
headed writer for his or her mastery sentence well within the writing
of the language?No. skillsof a lively fourteen-year-old:
So your own winning style must "In the beginning God created the
begin with ideas in your head. heaven and the earth."
1. Find a subjectyou care about 4. Have the guts to cut
Find a subject you care about
and which you in your heart feel
others should care about. It is this
genuine caring, and not your
games with language, which will
be the most compelling and seduc-
tive element in your style.
I am not urging you to write a
novel, by the way -although 1
would not be sony if you wrote
one, provided you genuinely cared
about something. A petition to the
mayor about a pothole in front
of your house or a love letter to
the girl next door will do.
It may be that you, too, are
capable of making necklaces for
Cleopatra, so to speak. But your
eloquence should be the servant of
the ideas in your head. Your rule
might be this: If a sentence, no
matter how excellent, does not il-
luminate your subject in some
new and useful way, scratch it out.
5. Soundlike yourself
The writing style which is most
natural for you is bound to echo
the speech you heard when a child.
English was the novelist Joseph-
Conrad's third language, and much
2' Do not though that seems piquant in his use of
I won't On abut that. Enelish was no doubt colored bv
3. Keep it simple hicfirst language, which was ~ d l -
As for your use of language: ish. And lucky indeed is the writer
Remember that two great masters who has grown up in Ireland, for
of language, William Shakespeare the English spoken there is so
and JamesJoyce, wrote sentences amusing'and musical. 1 myselfgrew
which were almost childlike
when their subjects were most
profound. "To be or not to b
asks Shakespeare's Hamlet.
The longest word is three
letters long. Joyce, when he
was frisky,could put
together a sentence
as intricate and as
glittering as a neck-
lace for Cleopatra,
but my favorite
sentence in his short
story "Eveline" is this
one: "She was tired."
At that point in the
story, no other words
could break the heart
of a reader as those
three words do. "Keep IC ,~inpk S~I~,I.PL"IICdd, u,~rhHurnL.ti /umo:c, s ~ i l h p c ~"
Reprinted with permission; copyright 1980 by International Paper Co.. New York, NY 10036.
2. POWER OF THE PRINTED WORD 67
meant them to say. My teachers So this discussionmust finally
wished me to write accurately, acknowledge that our stylistic
always selecting the most effective options as writers are neither nu-
words, and relating the words to merous nor glamorous, since our
one another unambiguously, readers are bound to be such
rigidly,like parts of a machine. imperfect artists. Our audience
The teachers did not want to requires us to be sympathetic and
turn me into an Englishman patient teachers, ever willing to
after all. They hoped that I simplify and clarify-whereas we
would become understandable would rather soar high above the
-and therefore understood. crowd, singing like nightingales.
And there went my dream of That is the bad news. The
doing with words what Pablo good news is that we Americans
Picasso did with paint or what are under a unique
any number of jazz idols did Constitution, which allows us to
with music. If I broke all the write whatever we please without
rules of punctuation, had fear of punishment. So the most
and employsa vocabulary as unor- words mean whatever I wanted meaningful aspect of our styles,
namental as a monkey wrench. them to mean, and strung them which is what we choose to write
In some of the more remote
together higgledy-piggledy,I would about, is utterly unlimited.
hollows of Appalachia, children
simply not be understood. So you,
too, had better avoid Picasso-style
8. For reallydetailed advice
still grow up hearing songs and lo- or jazz-style writing, if you have For a discussion of literary style
cutionsof Elizabethan times. Yes, something worth saying and in a narrower sense, in a more
and many Americans grow up wish to be understood. technical sense, I commend to
hearing-alanguage other than Readerswant our pages your attention The Elementsof Style,
English, or an English dialect a to look very much like pages am Strunk, Jr., and E.B.
majority of Americans cannot un. they have seen before. ite (Macmillan, 1979).
derstand. Why?This is because E.B. White is, of
All these varieties of speech they themselves have course, one of the
are beautiful, just as the varietiesof a tough job to do, and most admirable lit-
butterfliesare beautiful. No matter they need all the help erary styliststhis
what your first language, you they can get from us. country has so far
should treasure it all your life. If it produced.
happens not to be standard En- 7. Pity the readers You should realize,
glish, and if it shows itself when They have to too, that no one
you write standard English, the re- identify thousands of would care how well
sult isusually delightful, like a very little markson paper, or badly Mr. White
pretty girl with one eye that is and make sense of expressed himself,
greenand one that is blue. them immediately. "Pick 0 subject you care so deeply about if he did not have
They have to read, an
rhnt yuu'd s p a k on a soapbox a b u t it."
I myself find that I trust my perfectly enchanting
ownwritingmost, and others seem art SO difficult that most ~eopledon't things to say.
totrust it most, too, when I sound really master it even after having
most like aperson from Indianapo- studied it all through grade school
lis, which is what I am. What al- and high school -twelve long years.
temativesdo I have?The one most
vehemently recommended by
teachershas no doubt been pressed
@Q
onyou, aswell: to write like Years ago, International Paper sponsored a seriesof advertisements,
cultivated Englishmen of a century "Send me a man who reads," to help make Americans more
or more ago. aware of the value of reading.
Today, the printed word is more vital than ever. Now there
6. Say what youmeanto say is more need than ever before for all of us to read better, write
I used to be exasperated by better, and communicate better. International Paper offers this new
such teachers, but am no more. I series in the hope that, even in a small way, we can help.
understand now that all those an- For reprints of this advertisement, write: "Power of the
tique essaysand stories with which
Printed Word," International Paper Co., Dept. 5- ,PO. Box 900,
1was to compare my own work Elmsford, New York 10523. 0 1 S M INyERNATIO"AL pfiPERCOMp.Ny
Were not magnificent for their dat-
edness or foreignness, but for say-
INTERNATIONALPAPER COMPANY
We believe in the power of the printed word.
in^ vreciselv what their authors