In the English grammar, writing numbers can become a bit confusing. When should one spell numbers out and when is it okay to use digits to represent them? These and other questions about the use of numbers will be answered in this article. So for those who have been committing mistakes in the department of writing with numbers, this article is here to help you out. Read on and your uncertainties will surely be resolved.
The first rule to remember is that the only numbers you need to spell out are zero to nine. From 10 onwards, it is okay to use digits to represent them. Furthermore, when it comes to bigger numbers, those ending with zero are usually spelled out, but for figures with varying digits, use numerals if doing so would be the shorter way to express them. Then again, if it is necessary for the big numbers to be spelled out, put the comma where you would it would be if it was written in figures and use the word "and" to represent a decimal point. Consistency is another key in the English grammar rules for writing numbers. This means that once you start spelling figures out for the reason that one of them is below a single-digit, then continue doing so. However, if a sentence entails using numbers to show the count of two or more categories, then use words to represent one set and digits for the others. Fractions such as one-half, two-thirds and three-fourths should always be spelled out too, just remember to put hyphens between the numerators and the denominators. For mixed fractions and decimals, on the other hand, using numerals is the usual choice. However, both should be spelled out when either of them begins a sentence.
Then when it comes to the English grammar rules for expressing numbers in dates, the usual practice is to use numerals. Then when conveying decades, it is more common to spell them out, but it is also okay to express them in figures. Just remember that the apostrophe comes before the period you are pertaining to and not between the numerals and the "s". For example, '70s is correct, but 90's is wrong.
As for the English grammar rules in showing the time of day, hours ending with o'clock, quarter, thirty or three-quarters, are usually spelled out. Only those which states exact times are commonly expressed in figures, with the addition of A.M. or P.M. to clarify whether the moment happened in the morning or at night. However, when it comes to differentiating which part of the day the twelve o'clock in question occurred, the words "midnight" and "noon" are used.
These are everything you need to know in order to effectively express numbers in any piece of writing. In summary, single digits are usually spelled out while numbers with two or more figures are more commonly written in numerals. Also, a number is used to begin a sentence, it should always be expressed in words. Remember these and the rest will come naturally.
Go to the official English Grammar website for more grammar lessons, rules, and news for everyday use - http://www.englishgrammar.org/
Monday, January 31, 2011
Free Suite of Must-Read eBooks Focusing On Crippling Pitfalls For Internal Communication Professionals
Complied in David Grossman's eBook, The Greatest Mistakes (you don't want to make) is wisdom from smart communicators for some of the world's most recognizable brands that's bound to save you time, energy and improve business results - not to mention win you applause from the leaders you support.
"One of the best e-discussions I've been part of recently happened in a LinkedIn group that was pondering the question, ;What's the greatest mistake(s) a leader can make?' said Grossman. "It got me thinking about what we do, and the big no-nos you want to avoid. These aren't the mistakes that can cost you your job, but ones that can cause unnecessary frustration, aggravation and reduce your impact and results."
While leadercommunicators can - and need to - learn from their own mistakes; they can also learn from others when reading through the pages of this latest eBook. Additionally, Grossman offers up his own expert advice and provides additional perspective and solutions. "I've seen these ideas work irrespective of the economy, industry, leader's personality or style. You might even want to take a bow now ... for how much smarter you're about to become," said Grossman.
To download The Greatest Mistakes (you don't want to make), visit www.yourthoughtpartner.com/the-greatest-mistakes/.
Monday, January 24, 2011
Grammar 101: How to Correctly Use Conjunctions by KJ Hutchings
Do you remember this little grammar song when you were young? "Conjunction, conjunction, what is your function?" Well, the word "conjunction" simply means to connect or join. It is a way of connecting the words, phrases and clauses of sentences together. Conjunctions can have different roles and there are in fact four types of conjunctions:
1. Coordinating Conjunctions: and, for, nor, yet, or, so, but
And - means an addition of something
For - to show reason
Nor- shows negative choice
Yet - shows contrast
Or - demonstrates positive choice
So - shows results
But - contrast
Here are some examples of how to use them:
John and Jane got married.
Jane liked her new jacket but wished she had bought a matching hat too.
John wanted to drive to the country, so Jane let him borrow her car.
To be or not to be, that is the question.
Jane liked neither cats nor dogs.
John thought the book was really useful in his job as a farmer, for it was written by Mr MacDonald.
2. Correlative Conjunctions
These work in pairs: either/or, neither/nor, both/and and not only/but also. Here are some examples:
Jane shouted, " Either you stop reading that stupid book on farming right now, or I'm going to throw it away."
Neither John's parents nor his brothers wanted to be farmers.
John decided that not only must he finish reading his book but also take Jane out to dinner and buy her flowers.
Closing the book with a sigh, John said, "Sadly, both my wife and my family think farming is a poor career choice."
3. Sub-ordinating Conjunctions
Sub-ordinating conjunctions are used to make one part of the sentence (a clause - a group of words) sub-ordinate to another. There are lots of sub-ordinating conjunctions. Here are some of the most common ones:
After, although, as, as if, as though, because, before, even though, if, unless, until, while, whilst, where, and when.
To get a better idea of how to use some of them, here are some example sentences:
Because John had stopped reading his book, he found it hard to sleep when it was time for bed.
John told Jane that if he could not read his book in bed, he was going to stay awake all night.
Even though Jane didn't like John reading his farming books, she realised it would make him a better farmer in the future.
3. Conjunctive Adverbs
Conjunctive adverbs can be used simply as adverbs (a word that emphasises either a verb or an adjective) and they can also be used as a way to join together two or more independent clauses and create a relationship between them. They can be grouped into the following categories:
Time - next, then
Addition - moreover, in addition, even more important, also, furthermore, likewise, similarly
Illustration - for instance, for one, in fact, for example, first, second, third, indeed
Contrast - on the one hand, on the other hand, however, nevertheless, otherwise, notwithstanding
Results - thus, therefore, consequently, subsequently, as a result
Here are some examples:
Jane decided she wanted John to be a better farmer; therefore , she promised that he could read his books in bed.
John gave her a big hug and said, "I hope you don't change your mind; otherwise , I'm going to have to get a job in an office."
After reading in bed for an hour, Tom glanced over at Sue to see if she was asleep; then he put down his book and turned off the light.
KJ Hutchings is the founder of KJ Language Services, offering editing, writing and proofreading services and advice on how you can make your English language documents the very best they can be. For more information, visit http://www.kjlanguageservices.com/
1. Coordinating Conjunctions: and, for, nor, yet, or, so, but
And - means an addition of something
For - to show reason
Nor- shows negative choice
Yet - shows contrast
Or - demonstrates positive choice
So - shows results
But - contrast
Here are some examples of how to use them:
John and Jane got married.
Jane liked her new jacket but wished she had bought a matching hat too.
John wanted to drive to the country, so Jane let him borrow her car.
To be or not to be, that is the question.
Jane liked neither cats nor dogs.
John thought the book was really useful in his job as a farmer, for it was written by Mr MacDonald.
2. Correlative Conjunctions
These work in pairs: either/or, neither/nor, both/and and not only/but also. Here are some examples:
Jane shouted, " Either you stop reading that stupid book on farming right now, or I'm going to throw it away."
Neither John's parents nor his brothers wanted to be farmers.
John decided that not only must he finish reading his book but also take Jane out to dinner and buy her flowers.
Closing the book with a sigh, John said, "Sadly, both my wife and my family think farming is a poor career choice."
3. Sub-ordinating Conjunctions
Sub-ordinating conjunctions are used to make one part of the sentence (a clause - a group of words) sub-ordinate to another. There are lots of sub-ordinating conjunctions. Here are some of the most common ones:
After, although, as, as if, as though, because, before, even though, if, unless, until, while, whilst, where, and when.
To get a better idea of how to use some of them, here are some example sentences:
Because John had stopped reading his book, he found it hard to sleep when it was time for bed.
John told Jane that if he could not read his book in bed, he was going to stay awake all night.
Even though Jane didn't like John reading his farming books, she realised it would make him a better farmer in the future.
3. Conjunctive Adverbs
Conjunctive adverbs can be used simply as adverbs (a word that emphasises either a verb or an adjective) and they can also be used as a way to join together two or more independent clauses and create a relationship between them. They can be grouped into the following categories:
Time - next, then
Addition - moreover, in addition, even more important, also, furthermore, likewise, similarly
Illustration - for instance, for one, in fact, for example, first, second, third, indeed
Contrast - on the one hand, on the other hand, however, nevertheless, otherwise, notwithstanding
Results - thus, therefore, consequently, subsequently, as a result
Here are some examples:
Jane decided she wanted John to be a better farmer; therefore , she promised that he could read his books in bed.
John gave her a big hug and said, "I hope you don't change your mind; otherwise , I'm going to have to get a job in an office."
After reading in bed for an hour, Tom glanced over at Sue to see if she was asleep; then he put down his book and turned off the light.
KJ Hutchings is the founder of KJ Language Services, offering editing, writing and proofreading services and advice on how you can make your English language documents the very best they can be. For more information, visit http://www.kjlanguageservices.com/
Can Journal Writing Help You Achieve Goals? by By MJ Schrader
You may think of journal writing is for people with time or for others but not for you, yet you might be surprised by the benefits you can enjoy. Even if all you write is a few sentences you can receive multiple benefits. You might also be surprised at how easy it is.
Is journal writing hard?
It should be easy keeping a journal. This is not about writing perfectly, nor is about writing about a glamorous lifestyle. The purpose of this journal is not for others but for your benefit. Your journal should be for you, you can write a few sentences or much longer. You can write in sentences, prose or just take notes. It should be easy for you.
What do I write about in my journal?
You can ask a question and write the answer. An example question might be "What am I thankful for today?" or "How can I reach my goals?" You can write about things in your mind. Your journal is a great way to create plans, write ideas or just document what is or is not working right now.
Where should I write?
Some people like to keep a physical journal beside the bed, and write just before bedtime. Others keep a notebook. Some carry a small notebook or journal almost everywhere and write down ideas whenever and where ever the idea appears. An online journal with WordPress or blog site can be set to private, to allow for online writing. Others just use a Word or other office program to write on their computers.
When should I write?
It is important to decide on a regular time. It does not have to be everyday. You might choose to write every other day or only on Monday, Wednesday, and Friday. Writing at the same time each day will help you mentally prepare and make it easier to write.
But what are the benefits?
You can look back, days, months, years later and see how things have changed. You can write about goals, how you plan to achieve them, and when you do. When you look back you can make adjustments. Your stories can help you get things off your mind or get your mind moving by answering questions. Write freestyle with free thinking and you might be surprised by all the ideas your brain has hidden that can help you reach goals and solve problems. With journal writing you empower yourself and give yourself freedom.
Do you know how powerful you are?
Making your inner rockstar shine is the goal of MJSchrader.
If life has left you doubting or wondering if you have a rockstar inside, then you should visit her website.
Is journal writing hard?
It should be easy keeping a journal. This is not about writing perfectly, nor is about writing about a glamorous lifestyle. The purpose of this journal is not for others but for your benefit. Your journal should be for you, you can write a few sentences or much longer. You can write in sentences, prose or just take notes. It should be easy for you.
What do I write about in my journal?
You can ask a question and write the answer. An example question might be "What am I thankful for today?" or "How can I reach my goals?" You can write about things in your mind. Your journal is a great way to create plans, write ideas or just document what is or is not working right now.
Where should I write?
Some people like to keep a physical journal beside the bed, and write just before bedtime. Others keep a notebook. Some carry a small notebook or journal almost everywhere and write down ideas whenever and where ever the idea appears. An online journal with WordPress or blog site can be set to private, to allow for online writing. Others just use a Word or other office program to write on their computers.
When should I write?
It is important to decide on a regular time. It does not have to be everyday. You might choose to write every other day or only on Monday, Wednesday, and Friday. Writing at the same time each day will help you mentally prepare and make it easier to write.
But what are the benefits?
You can look back, days, months, years later and see how things have changed. You can write about goals, how you plan to achieve them, and when you do. When you look back you can make adjustments. Your stories can help you get things off your mind or get your mind moving by answering questions. Write freestyle with free thinking and you might be surprised by all the ideas your brain has hidden that can help you reach goals and solve problems. With journal writing you empower yourself and give yourself freedom.
Do you know how powerful you are?
Making your inner rockstar shine is the goal of MJSchrader.
If life has left you doubting or wondering if you have a rockstar inside, then you should visit her website.
Follow These Eight Steps to Develop Your Corporate Communications Plan
by Brian R. Salisbury
Your company needs a corporate communications plan to help guarantee the success of your overall business plan. And the best time to develop a communications plan is during your annual budgeting or organizational planning process.
"Communications" includes all written, spoken and electronic interactions between you and audiences inside and outside your organization.
A plan will help you to organize and prioritize the communication tools and initiatives you use to deliver the right information to the right people at the right time. It will help you to keep your stakeholders informed and maintain their buy-in and support for your communications endeavors. It will solidify
Your choice of communications methods, initiatives and materials
What each communication program component must achieve
Your choice of key audiences
Timetables, tools and budgets
How you measure and evaluate program results
From a communications executive's perspective, in addition to the peace of mind it brings, such a plan will help you to
Establish priorities,
Determine day-to-day activities
Achieve order and control
Gain CEO and staff support
Protect against last-minute demands
Follow these eight steps to develop an effective corporate communications plan:
1. Define your goals and desired results.
What is your strategic purpose with regard to corporate communications?
What's the tie-in to your organization's business plan?
2. Conduct an audit to determine and evaluate your current communications materials and initiatives. You must determine
What communications initiatives each department is using
What each initiative is designed to achieve
Each initiative's effectiveness
3. Define your overall communications objectives, such as reinforcing
Customer service
Customer loyalty
Increased sales
Employee morale and teamwork
Employee retention and recruitment
Media relations
A positive corporate image and reputation
Crisis control
4. Determine which audiences you want to influence, such as
Current and prospective customers
Suppliers
Current and prospective employees
Federal, state and local legislators
Wall Street
The media
5. Decide which tools you can use -- and afford -- to achieve your goals and get your points across. Your tools can include:
Print publications
Online communications
Manuals
Meeting and conference materials
Media and public relations materials
Marketing and sales materials
Legal and legislative documents
Employee and customer newsletters
Corporate identity materials -- logos, print and packaging,
Quarterly and annual reports
Signage
Presentations
Website content
Blogs
Internet initiatives
6. Estimate the cost of each initiative, then establish a budget.
7. Establish your timetable.
8. Include methods in your plan that you can use to measure and evaluate results periodically, and to evaluate the program's overall results at year's end.
A written communications plan is as much a defense against chaos, confusion and wasted energy as it is a business priority.
Once in place, your plan will establish priorities, fend off last-minute and inappropriate demands and bring a semblance of order to a hectic job.
Brian R. Salisbury, a writer and a public relations and communications consultant, combines a wealth of communications know-how with an engaging writing style to help his clients shape the most effective messages and deliver them with the greatest impact where they count most. Visit Brian's website at http://www.BriansQuill.com and subscribe to his free public relations newsletter and receive his free report "Ten Key Components of a Successful Public Relations Program." Or send him an email at BrianSalisbury@BriansQuill.com.
Your company needs a corporate communications plan to help guarantee the success of your overall business plan. And the best time to develop a communications plan is during your annual budgeting or organizational planning process.
"Communications" includes all written, spoken and electronic interactions between you and audiences inside and outside your organization.
A plan will help you to organize and prioritize the communication tools and initiatives you use to deliver the right information to the right people at the right time. It will help you to keep your stakeholders informed and maintain their buy-in and support for your communications endeavors. It will solidify
Your choice of communications methods, initiatives and materials
What each communication program component must achieve
Your choice of key audiences
Timetables, tools and budgets
How you measure and evaluate program results
From a communications executive's perspective, in addition to the peace of mind it brings, such a plan will help you to
Establish priorities,
Determine day-to-day activities
Achieve order and control
Gain CEO and staff support
Protect against last-minute demands
Follow these eight steps to develop an effective corporate communications plan:
1. Define your goals and desired results.
What is your strategic purpose with regard to corporate communications?
What's the tie-in to your organization's business plan?
2. Conduct an audit to determine and evaluate your current communications materials and initiatives. You must determine
What communications initiatives each department is using
What each initiative is designed to achieve
Each initiative's effectiveness
3. Define your overall communications objectives, such as reinforcing
Customer service
Customer loyalty
Increased sales
Employee morale and teamwork
Employee retention and recruitment
Media relations
A positive corporate image and reputation
Crisis control
4. Determine which audiences you want to influence, such as
Current and prospective customers
Suppliers
Current and prospective employees
Federal, state and local legislators
Wall Street
The media
5. Decide which tools you can use -- and afford -- to achieve your goals and get your points across. Your tools can include:
Print publications
Online communications
Manuals
Meeting and conference materials
Media and public relations materials
Marketing and sales materials
Legal and legislative documents
Employee and customer newsletters
Corporate identity materials -- logos, print and packaging,
Quarterly and annual reports
Signage
Presentations
Website content
Blogs
Internet initiatives
6. Estimate the cost of each initiative, then establish a budget.
7. Establish your timetable.
8. Include methods in your plan that you can use to measure and evaluate results periodically, and to evaluate the program's overall results at year's end.
A written communications plan is as much a defense against chaos, confusion and wasted energy as it is a business priority.
Once in place, your plan will establish priorities, fend off last-minute and inappropriate demands and bring a semblance of order to a hectic job.
Brian R. Salisbury, a writer and a public relations and communications consultant, combines a wealth of communications know-how with an engaging writing style to help his clients shape the most effective messages and deliver them with the greatest impact where they count most. Visit Brian's website at http://www.BriansQuill.com and subscribe to his free public relations newsletter and receive his free report "Ten Key Components of a Successful Public Relations Program." Or send him an email at BrianSalisbury@BriansQuill.com.
Monday, January 17, 2011
The Coolest Verb by Derek Haines
English has one of the coolest, and at the same time most mysterious of verbs. Verbs to me are the motors that drive phrases and sentences. Normally, as in most languages, these verbs are one word. But in English we have the special and totally cool phrasal verb. Sometimes now called the multi-word verb.
They are normally two words, but sometimes can be longer. For example, to put up with, to look down on or to get on with. Common two word verbs are give up, get over, take up or get by. All very cool, and should need no thought or consideration when writing. Except!
Well, two things really that may need a second though. In formal English, the use of phrasal verbs is not so cool. In fact they should be avoided at all costs if you wish to communicate in highly formal writing. A single word verb is much better. Job application letters, reports, letters of complaint and legal correspondence are examples of where they should be avoided. So to put up with would need to be replaced by to tolerate.
The second small matter is that of meaning. The phrasal verb to take out is a common example. But what meaning does it take? Consider these examples.
To take out the garbage. (to remove)
To take out my wife. (to invite)
To take out a loan. (to contract)
To take out a President. (to eliminate)
In these four examples we can see how context is the key. Try these.
To put a deposit down. (to secure)
To put a dog down. ( to kill)
To put your friend down. (to humiliate)
Then there are these.
To dine out.
To eat in.
To go away.
To get lost.
Just in these three sets of examples we have:
A change of meaning depending on the object.
A change of location for the object to between the verb.
A verb that cannot take any object.
In fact there are seven kinds of phrasal verbs in English and it is one of the most complex grammatical point in our language. Somehow though, we find them highly communicative, and without them, advertisers would be lost for words. The are finding there way into other languages as well because of their simplicity in message. Another interesting point about them is that each year new phrasal verbs are added to our language. One of the most famous of in recent times is the one attributed to Tony Blair. To sex up a dossier.
We are now so used to Googling someone up aren't we?
You can find more information here.
Derek Haines - Author, Songwriter, Poet, Idiot
They are normally two words, but sometimes can be longer. For example, to put up with, to look down on or to get on with. Common two word verbs are give up, get over, take up or get by. All very cool, and should need no thought or consideration when writing. Except!
Well, two things really that may need a second though. In formal English, the use of phrasal verbs is not so cool. In fact they should be avoided at all costs if you wish to communicate in highly formal writing. A single word verb is much better. Job application letters, reports, letters of complaint and legal correspondence are examples of where they should be avoided. So to put up with would need to be replaced by to tolerate.
The second small matter is that of meaning. The phrasal verb to take out is a common example. But what meaning does it take? Consider these examples.
To take out the garbage. (to remove)
To take out my wife. (to invite)
To take out a loan. (to contract)
To take out a President. (to eliminate)
In these four examples we can see how context is the key. Try these.
To put a deposit down. (to secure)
To put a dog down. ( to kill)
To put your friend down. (to humiliate)
Then there are these.
To dine out.
To eat in.
To go away.
To get lost.
Just in these three sets of examples we have:
A change of meaning depending on the object.
A change of location for the object to between the verb.
A verb that cannot take any object.
In fact there are seven kinds of phrasal verbs in English and it is one of the most complex grammatical point in our language. Somehow though, we find them highly communicative, and without them, advertisers would be lost for words. The are finding there way into other languages as well because of their simplicity in message. Another interesting point about them is that each year new phrasal verbs are added to our language. One of the most famous of in recent times is the one attributed to Tony Blair. To sex up a dossier.
We are now so used to Googling someone up aren't we?
You can find more information here.
Derek Haines - Author, Songwriter, Poet, Idiot
How to Use Abbreviations in Written English by Louie Jerome
In everyday written English abbreviations are often used instead of full words. It is not always easy to know when to use these and when to use full words instead. As a general rule it is acceptable to use these in informal writing but if you are writing a formal letter, or document, always write these words in full.
c/o: short for care of
Use this when writing the address on a letter to someone who does not live at a particular address but is having their mail sent sent there.
Do: short for ditto
Ditto is Latin for 'already said'. Use it to indicate that you are repeating something. The short form of the word 'ditto' is sometimes written with two commas (,,) which are placed underneath the word, or number being repeated.
eg: means exempli gratia
This is used to indicate that an example follows to illustrate a point. The words 'exempli gratia' are Latin and mean ' for example'.
etc: short for et cetera
This is Latin for 'and other things'. It is used when you want to let the reader know that the list could be longer. In formal English this is not really suitable (although not incorrect) and it is better to write 'such as' and then list some examples rather than use the abbreviation 'etc'.
i.e : short for id est
This is Latin for 'that is' and it can be used to clarify meaning by putting what has been written in another way.
NB : short for nota bene
This Latin expression means 'note well' and it often added at the end of a statement to indicate that it is a very important point.
PS : Short for post scriptum
This again is Latin and is used to add a bit more to the end of an informal letter. If you think of something you forgot to say it is correct to use PS at the end of an informal letter but if the letter is formal the whole thing needs to be rewritten to include the extra point, don't use a PS.
RSVP : French for 'please reply'
The French phrase 'repondez s'il vous plait' means 'please reply'. It is always abbreviated to RSVP and should only be used at the bottom of an invitation. For example a wedding, engagement, or birthday party invitation. Never use this in a formal letter.
ult : means last month
This too is Latin and is short for ultimo and means 'last month'. It is only used in very formal documents and letters, particularly in the legal profession.
If you are unsure about using abbreviations in written English, don't use them. The examples given above have very specific uses and using them in the wrong places will make your written English look and sound ridiculous. Only use the ones that you are comfortable with.
Copyright: Louie Jerome 2008
Louie Jerome is a UK writer, editor and publisher. She is also a teacher of English as a foreign language. Writer Soup is a monthly internet magazine for writers and readers. [http://www.learn-english-now.co.uk]
c/o: short for care of
Use this when writing the address on a letter to someone who does not live at a particular address but is having their mail sent sent there.
Do: short for ditto
Ditto is Latin for 'already said'. Use it to indicate that you are repeating something. The short form of the word 'ditto' is sometimes written with two commas (,,) which are placed underneath the word, or number being repeated.
eg: means exempli gratia
This is used to indicate that an example follows to illustrate a point. The words 'exempli gratia' are Latin and mean ' for example'.
etc: short for et cetera
This is Latin for 'and other things'. It is used when you want to let the reader know that the list could be longer. In formal English this is not really suitable (although not incorrect) and it is better to write 'such as' and then list some examples rather than use the abbreviation 'etc'.
i.e : short for id est
This is Latin for 'that is' and it can be used to clarify meaning by putting what has been written in another way.
NB : short for nota bene
This Latin expression means 'note well' and it often added at the end of a statement to indicate that it is a very important point.
PS : Short for post scriptum
This again is Latin and is used to add a bit more to the end of an informal letter. If you think of something you forgot to say it is correct to use PS at the end of an informal letter but if the letter is formal the whole thing needs to be rewritten to include the extra point, don't use a PS.
RSVP : French for 'please reply'
The French phrase 'repondez s'il vous plait' means 'please reply'. It is always abbreviated to RSVP and should only be used at the bottom of an invitation. For example a wedding, engagement, or birthday party invitation. Never use this in a formal letter.
ult : means last month
This too is Latin and is short for ultimo and means 'last month'. It is only used in very formal documents and letters, particularly in the legal profession.
If you are unsure about using abbreviations in written English, don't use them. The examples given above have very specific uses and using them in the wrong places will make your written English look and sound ridiculous. Only use the ones that you are comfortable with.
Copyright: Louie Jerome 2008
Louie Jerome is a UK writer, editor and publisher. She is also a teacher of English as a foreign language. Writer Soup is a monthly internet magazine for writers and readers. [http://www.learn-english-now.co.uk]
Monday, January 10, 2011
Adding an 'E' to the ABCs of Writing by Mike Consol
Much is made of the ABCs of writing - accuracy, brevity, clarity - but there is a fourth more, advanced component to good writing. That's "euphony," a word many people do not know. It's time to change that. Euphony means agreeable sound, especially in the phonetic quality of words. Lyrical writing is euphony. To master the ABCs of writing will certainly make you a strong and effective writer. But you can be accurate, brief and clear and pretty dull if your writing is devoid of euphony. So it's something we need to pay attention to.
Creating a pleasing or musical sound between words sometimes requires adding a little extra verbiage, sometimes less verbiage. Either way the payoff is well worth it. More often it's a matter of choosing the right words and arranging them in a lyrical order. Word choice is always critical; so it the arrangement or order of those words. Take the example of music stars Darryl Hall and John Oates. When they explored on the music scene fans quickly shortened their name to simply Hall and Oates. It was a choice that demonstrated their sense of euphony. Compare that shorthand name to the alternative: Oates and Hall. It just doesn't flow. It lacks melody. It just doesn't sound right.
Similarly, the big public relations firm Hill & Knowlton would have called its sonic sensibilities into question if the partners had instead named the firm Knowlton & Hill. The latter isn't awful, just less melodious. Nuance is critical to good writing.
Let consider some other examples of word pairings.
In each case the former is a combination that offers more word affinity than the latter. Those are just brief word combinations. Let's consider some full-length sentences. In his bestselling novel Bonfire of the Vanities author Tom Wolfe wrote: "The clerk was a bull-necked Italian named Charles Bruzzelli."
A lesser writer might have promulgated the same thought but settled for this less lyrical arrangement. Perhaps something like this: "The clerk was an Italian named Charles Bruzzelli and he was bull-necked."
Comedic Florida novelist Carl Hiaasen wrote: "As we glided through the woods to the music of birds and the splish-splash of our paddles stitching the black water, I tried to summon an image of Chapman."
An editor with a tin ear might have drafted the thought a little differently, maybe like so: "As we glided through the woods I tried to summon an image of Chapman to the music of birds and the splish-splash of our paddles stitching the black water."
British author Douglas Adams, of Hitchhiker's Guide to the Galaxy fame, gave us this gem: "The turmoil of the day stood still for a moment and kept a respectful distance."
A sloppy spell of thinking from Adams might have instead produced this: "Keeping a respectful distance, the turmoil of the day stood still for a moment."
We can all be pleased that the legendary John Updike wrote: "He tries shaving without looking at his face, which is never the face he wanted. Too much nose, not enough chin," rather than, "He had too much nose and not enough chin, which wasn't the face he wanted. So have tried shaving without looking at his face."
Ditto for this Updike sentence: "It is important to strike within the first few moments of awakening, before the dream's delicate structure is crushed under humdrum reality's weight," which could have alternatively been drafted as, "Before the dream's delicate structure is crushed under humdrum reality's weight, it is important to strike within the first few moments of awakening."
The quality of the authors' thinking in every case makes even the lesser rewrites far more interesting than most English sentences. Still, the importance of nuance and arrangement in achieving the highest level of euphony is apparent.
None of this is meant to diminish the importance of the ABCs of writing. Accuracy, brevity and clarity are prerequisites to achieving euphony. You would be hard pressed to make flabby, muddled and inaccurate writing sound pleasing to the ear.
Simply put, euphony is required to take one from a good to great writer.
Mike Consol is president of http://www.MikeConsol.com. He provides corporate training seminars for communication skills, business writing, PowerPoint presentation skills and media training (both traditional media and social media). Consol spent 17 years with American City Business Journals, the nation's largest publisher of metropolitan business journals with 40 weekly newspapers across the United States. While at ACBJ, Consol held a variety of key posts.
Creating a pleasing or musical sound between words sometimes requires adding a little extra verbiage, sometimes less verbiage. Either way the payoff is well worth it. More often it's a matter of choosing the right words and arranging them in a lyrical order. Word choice is always critical; so it the arrangement or order of those words. Take the example of music stars Darryl Hall and John Oates. When they explored on the music scene fans quickly shortened their name to simply Hall and Oates. It was a choice that demonstrated their sense of euphony. Compare that shorthand name to the alternative: Oates and Hall. It just doesn't flow. It lacks melody. It just doesn't sound right.
Similarly, the big public relations firm Hill & Knowlton would have called its sonic sensibilities into question if the partners had instead named the firm Knowlton & Hill. The latter isn't awful, just less melodious. Nuance is critical to good writing.
Let consider some other examples of word pairings.
- Abercrombie & Fitch vs. Fitch & Abercrombie
- Baskin-Robbins vs. Robbins-Baskin
- Black & Decker vs. Decker & Black
- Peter, Paul and Mary vs. Mary, Paul and Peter
- Romeo and Juliet vs. Juliet and Romeo
- Thelma and Louise vs. Louise and Thelma
- Peaches and cream vs. cream and peaches
In each case the former is a combination that offers more word affinity than the latter. Those are just brief word combinations. Let's consider some full-length sentences. In his bestselling novel Bonfire of the Vanities author Tom Wolfe wrote: "The clerk was a bull-necked Italian named Charles Bruzzelli."
A lesser writer might have promulgated the same thought but settled for this less lyrical arrangement. Perhaps something like this: "The clerk was an Italian named Charles Bruzzelli and he was bull-necked."
Comedic Florida novelist Carl Hiaasen wrote: "As we glided through the woods to the music of birds and the splish-splash of our paddles stitching the black water, I tried to summon an image of Chapman."
An editor with a tin ear might have drafted the thought a little differently, maybe like so: "As we glided through the woods I tried to summon an image of Chapman to the music of birds and the splish-splash of our paddles stitching the black water."
British author Douglas Adams, of Hitchhiker's Guide to the Galaxy fame, gave us this gem: "The turmoil of the day stood still for a moment and kept a respectful distance."
A sloppy spell of thinking from Adams might have instead produced this: "Keeping a respectful distance, the turmoil of the day stood still for a moment."
We can all be pleased that the legendary John Updike wrote: "He tries shaving without looking at his face, which is never the face he wanted. Too much nose, not enough chin," rather than, "He had too much nose and not enough chin, which wasn't the face he wanted. So have tried shaving without looking at his face."
Ditto for this Updike sentence: "It is important to strike within the first few moments of awakening, before the dream's delicate structure is crushed under humdrum reality's weight," which could have alternatively been drafted as, "Before the dream's delicate structure is crushed under humdrum reality's weight, it is important to strike within the first few moments of awakening."
The quality of the authors' thinking in every case makes even the lesser rewrites far more interesting than most English sentences. Still, the importance of nuance and arrangement in achieving the highest level of euphony is apparent.
None of this is meant to diminish the importance of the ABCs of writing. Accuracy, brevity and clarity are prerequisites to achieving euphony. You would be hard pressed to make flabby, muddled and inaccurate writing sound pleasing to the ear.
Simply put, euphony is required to take one from a good to great writer.
Mike Consol is president of http://www.MikeConsol.com. He provides corporate training seminars for communication skills, business writing, PowerPoint presentation skills and media training (both traditional media and social media). Consol spent 17 years with American City Business Journals, the nation's largest publisher of metropolitan business journals with 40 weekly newspapers across the United States. While at ACBJ, Consol held a variety of key posts.
Authorship: A Solitary Endeavor? by L Michelle Baker
The image of the author as a solitary soul retreating into him- or herself for creative genius has taken on something of a romantic tinge in our culture. Ernest Hemingway, William Faulkner, and John Steinbeck have the reputation of being rugged loners, outcasts, and staunch individualists. Truman Capote, Philip Roth, and J.D. Salinger adopt the role of eclectic recluse, thereby earning a strange sort of fame.
Self-Reliance is the title of Ralph Waldo Emerson's master work. Henry David Thoreau retreats to Walden Pond to compose his reflections upon life in America. And Emily Dickinson spends her life gazing out the window at a society she is destined never to participate in but perpetually to influence.
So most of us are left with the idea that to be a great writer we must cloister ourselves from the madding crowd, chain ourselves to our desks, and wither away in our gables just to put words to the page. With these as our role models, we think authorship must depend upon solitude. And the more time we spend alone, the more we discipline ourselves to the task of writing, the better writers we will be.
I'd like to challenge that notion with other examples of writers equally as profound, who lived dazzling, brilliant lives of interactivity, and who found thereby their greatest inspiration. Homer, for example-the greatest poet of the Western world, whose twin epics the Iliad and the Odyssey have influenced every subsequent author to this day.
Homer (if he existed) was illiterate. He composed his poetry orally, taught it to apprentices called rhapsodes, who recited it verbatim, and continued to do so for hundreds of years until finally teaching it to scribes, who recorded it in manuscripts of which we have only fragments today.
Virginia Woolf, author of Mrs. Dalloway, To The Lighthouse, and Orlando, among others, began the Bloomsbury Group. Hers was a household filled with intellectuals, young people who gathered to talk about the important issues of their day and to publish the results of the conversations.
These are not the models of authors working in solitude. They are collaborative writing at its finest, a model that is perhaps more appropriate to the professional, technical, scientific, and academic worlds where much of today's writing is taking place. Perhaps for the creative writer solitude may allow for the emergence of the imagination, but for the more practical corporate writer, it seems to me that interaction, discussion, and cooperation are more viable, productive modes of articulation.
In particular, three situations call for a team instead of a solitary author. In the first, a project is simply too large for one person to complete in a timely manner. Many hands make light work. So call all hands on deck, parcel out the assignments, and have at it.
In the third, a variety of opinions are requested to gain consensus on a tricky issue. This is a situation that calls for diplomacy as many different interests are represented. The team must have the backing of its constituents, and its leader should have no obvious bias.
The second situation is one that most corporate professionals are currently using. It's a collaborative writing situation that requires a variety of experts to each weigh in on different aspects of the document. The problem most organizations face is that they are currently using a linear approach to such documents. One person, very low on the chain, writes the document, which then goes through many layers of review before being kicked back down to be completely rewritten.
That process is time consuming, demoralizing, and self-defeating. By turning the specialized collaborative writing project into a true team effort, organizations can streamline the process, use their time and resources more efficiently, and train their staff more effectively. In the next few blog posts we'll talk about how to do that.
In the meantime, I'd love to hear about the collaborative projects you've worked on. What are your own closely held beliefs about solitary authorship versus collaborative writing? What works on a collaborative writing project, and what doesn't? Send me an e-mail, or visit my blog to leave a comment!
L. Michelle Baker, PhD, is The Corporate Writing Pro. She has been teaching college students and adult professionals how to write faster, easier, and more clearly since 2000.
Michelle earned her PhD from the Catholic University of America in 2008. Her passion is literature-specifically Postmodern British literature. But her business is business. Michelle is on a mission to bring tools that work to the writers that need them most.
For more writing tips, subscribe to her blog, Keys to Easy Writing, at http://corporatewritingpro.com.
You can also email michelle@corporatewritingpro.com.
And for daily updates, follow her on Twitter, @CorpWritingPro.
Self-Reliance is the title of Ralph Waldo Emerson's master work. Henry David Thoreau retreats to Walden Pond to compose his reflections upon life in America. And Emily Dickinson spends her life gazing out the window at a society she is destined never to participate in but perpetually to influence.
So most of us are left with the idea that to be a great writer we must cloister ourselves from the madding crowd, chain ourselves to our desks, and wither away in our gables just to put words to the page. With these as our role models, we think authorship must depend upon solitude. And the more time we spend alone, the more we discipline ourselves to the task of writing, the better writers we will be.
I'd like to challenge that notion with other examples of writers equally as profound, who lived dazzling, brilliant lives of interactivity, and who found thereby their greatest inspiration. Homer, for example-the greatest poet of the Western world, whose twin epics the Iliad and the Odyssey have influenced every subsequent author to this day.
Homer (if he existed) was illiterate. He composed his poetry orally, taught it to apprentices called rhapsodes, who recited it verbatim, and continued to do so for hundreds of years until finally teaching it to scribes, who recorded it in manuscripts of which we have only fragments today.
Virginia Woolf, author of Mrs. Dalloway, To The Lighthouse, and Orlando, among others, began the Bloomsbury Group. Hers was a household filled with intellectuals, young people who gathered to talk about the important issues of their day and to publish the results of the conversations.
These are not the models of authors working in solitude. They are collaborative writing at its finest, a model that is perhaps more appropriate to the professional, technical, scientific, and academic worlds where much of today's writing is taking place. Perhaps for the creative writer solitude may allow for the emergence of the imagination, but for the more practical corporate writer, it seems to me that interaction, discussion, and cooperation are more viable, productive modes of articulation.
In particular, three situations call for a team instead of a solitary author. In the first, a project is simply too large for one person to complete in a timely manner. Many hands make light work. So call all hands on deck, parcel out the assignments, and have at it.
In the third, a variety of opinions are requested to gain consensus on a tricky issue. This is a situation that calls for diplomacy as many different interests are represented. The team must have the backing of its constituents, and its leader should have no obvious bias.
The second situation is one that most corporate professionals are currently using. It's a collaborative writing situation that requires a variety of experts to each weigh in on different aspects of the document. The problem most organizations face is that they are currently using a linear approach to such documents. One person, very low on the chain, writes the document, which then goes through many layers of review before being kicked back down to be completely rewritten.
That process is time consuming, demoralizing, and self-defeating. By turning the specialized collaborative writing project into a true team effort, organizations can streamline the process, use their time and resources more efficiently, and train their staff more effectively. In the next few blog posts we'll talk about how to do that.
In the meantime, I'd love to hear about the collaborative projects you've worked on. What are your own closely held beliefs about solitary authorship versus collaborative writing? What works on a collaborative writing project, and what doesn't? Send me an e-mail, or visit my blog to leave a comment!
L. Michelle Baker, PhD, is The Corporate Writing Pro. She has been teaching college students and adult professionals how to write faster, easier, and more clearly since 2000.
Michelle earned her PhD from the Catholic University of America in 2008. Her passion is literature-specifically Postmodern British literature. But her business is business. Michelle is on a mission to bring tools that work to the writers that need them most.
For more writing tips, subscribe to her blog, Keys to Easy Writing, at http://corporatewritingpro.com.
You can also email michelle@corporatewritingpro.com.
And for daily updates, follow her on Twitter, @CorpWritingPro.
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