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Style: Lessons in Clarity and Grace, by Joseph M. Williams . Joseph Bizup
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Paperback. Pub Date :2013-05-24 Pages: 272 Language: English Publisher: Pearson Engaging and direct. Style: Lessons in Clarity and Grace is the guidebook for anyone who wants to write well.Engaging and direct. Style: Lessons in Clarity and Grace is the guidebook for anyone who wants to write well.Williams' own clear. accessible style models the kind of writing that audiences-both in college and after-will admire. The principles offered here help writers understand what readers expect and encourage writers to revise to meet those expectations more effectively. This book is all you need to understand the principles of effective writing.
- Sales Rank: #3828524 in Books
- Published on: 2013-05-24
- Format: International Edition
- Original language: English
- Dimensions: 8.27" h x .55" w x 5.67" l, .71 pounds
- Binding: Paperback
Most helpful customer reviews
56 of 59 people found the following review helpful.
A Contemporary Classic on Editing Nonfiction Prose
By C J Singh
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Reviewed by C.J.Singh (Berkeley, CA)
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Years ago, I attended a weekend workshop for instructors of college composition that was led by Professor Joseph Williams, the author of STYLE, visiting from the University of Chicago and Professor Richard Lanham, author of Revising Prose , visiting from UCLA. They presented lucid and witty summaries of their books, Lanham focusing on revising at the sentence level and Williams on paragraphs. Although their books have gone through several editions since, the core concepts remain the same. Both self-teaching books are on my amazon Listmania's list "Expository Writing: Top Ten Books."
While teaching Advanced Editorial Workshop, a ten-week course, at the University of California, I regularly assigned the earlier editions of STYLE as the main textbook. Each term, students rated the book as excellent. (The prerequisite to the workshop was a review course, with the main textbook "The Harbrace College Handbook." Although STYLE includes a 22-page appendix summarizing grammar and punctuation rules, most readers would be well-advised to reread a standard college handbook, such as Diana Hacker and Nancy Sommers's A Writer's Reference with Exercises. See my review on Amazon.)
Even a brief browsing of Joseph Williams's STYLE would persuade most readers that it makes the much touted Strunk & White's "The Elements of Style" look, well, elementary. Simplistic. If the seductively slender "Elements" -- easily read in a day, no exercises to do -- could deliver the claim on its jacket, by the end of the day there'd be millions of excellent writers.
The 11th edition of STYLE has been ably co-authored by Joseph Bizup. Among the enhancements Bizup presents are reordering of two chapters so that the trajectory is from clarity to grace instead of from sentence- to document-level. He has added many new exercises "grouped under the heading `In Your Own Word,' that invite writers to work with their own prose" (p v).
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Part One, Style as Choice, focuses on different kinds of rules - - real, social, invented. Three of the many examples of invented rules presented are the usage distinctions between that/which; fewer/less; and who/whom. An invented rule says: "Use the relative pronoun `that' -- not `which' -- for restrictive clauses" (page 15). Williams traces the history of this invention and quotes several noted writers who disregard it. His discussion is included in Merriam-Webster's Dictionary of English Usage (See my review on amazon.)
Another invented rule says: "Use fewer with nouns you count, less with nouns you cannot." Again many established writers disregard it. On the who/whom distinction, he favors "Who am writing for?" as used by William Zinsser in his widely read ON WRITING WELL "Purists would insist on "For whom am I writing?" as the invented rule "Use whom as the object of a verb or preposition." An example of a real rule: "Use `who' when it is the subject of verb in its clause; use `whom' only when it is an object in its own clause." Here's an actual rule: use `who' when it is the subject of a verb in its own clause; use `whom' when it is an object in its own clause (p 18).
Each part concludes with a fairly detailed summary. For example, the Part One summary begins: "We must write correctly, but if in defining correctness we ignore the difference between fact and folklore, we risk overlooking what is really important - - the choices that make our writing dense and wordy or clear and concise" (p 25).
Part Two, Clarity, comprises chapters entitled Actions; Characters; Cohesion and Coherence; Emphasis. Summary opens: "A simple English sentence is more than the sum of its words; it is a system of systems. Readers have consistent preferences that you should try to meet: They want sentences to get to the subject of a main clause quickly... and they want sentences that get past the subject to a verb quickly" (p 94).
Part Three, Clarity of Form, includes chapters on Motivation and Global Coherence. The summary opens: "Plan your paragraphs, sections, and the whole on this model: Open each unit with a relatively short segment introducing it. End that segment with a sentence stating the point of that unit. Toward the end of that point sentence, use key themes that the rest of the unit develops" (p 124).
Part Four, Grace, comprises chapters on Concision; Shape; and Elegance. The chapter on Shape introduces resumptive, summative, and free modifiers. Clear examples explain these terms.
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"Since mature writers often use resumptive modifiers to extend a line of thought, we need a word to name what I am about to do in this sentence, a sentence that I could have ended at that comma but have extended to show you to a relative clause attached to a noun" ( p153).
"To create a summative modifier, end a grammatically complete segment of a sentence with a comma, add a term that sums up the substance of the sentence so far, and continue with a restrictive relative clause beginning with that: `Economic changes have reduced Russian population growth to less than zero, a demographic event that will have serious social implications' (p 154).
And, free modifiers: "Like the other modifiers, a free modifier can appear at the end of a clause, but instead of repeating a key word or summing up what went before, it comments on the subject of the closest verb. Free modifiers resemble resumptive and summative modifiers, letting you (i.e., the free modifier lets you) extend the line of a sentence while avoiding a train of ungainly phrases and clauses'" (p 155). In the preceding sentence, Williams simultaneously explains and exemplifies the concept of free modifiers.
Part Five, The Ethics of Style, takes on academics who "rationalize opacity," with a "claim that their prose style must be difficult because their ideas are new, they are, as a matter of simple fact, more often wrong than right. The philosopher of language Ludwig Wittgenstein said: `Whatever can be thought clearly can be thought clearly; whatever can be written can be written clearly.' I'd add a nuance: and with just a bit more effort , more clearly still" usually be written more clearly, with just a little more effort" (p 195).
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Well-crafted writing emerges only from repeated rewriting. This five-star text- and workbook teaches the exacting--and joyously rewarding--craft of rewriting. Moreover, I wholly agree with the author's observation on writing clearly and cognitive psychology: "The more clearly we write, the more clearly we see and feel and think."
In the 11th edition, co-author Joseph Bizup presents effective enhancements and wisely retains the features that made STYLE a contemporary classic on substantive editing of nonfiction prose.
23 of 25 people found the following review helpful.
An Excellent Guide and Workbook
By C J Singh
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Reviewed by C.J.Singh
Even a brief browsing of Joseph Williams's STYLE: LESSONS IN CLARITY AND GRACE, ninth edition, would persuade most readers that it makes the much touted Strunk & White's "The Elements of Style" look, well, elementary. Simplistic. If the seductively slender "Elements"--easily read in a day, no exercises to do--could deliver its claim, by the end of the day there'd be millions of excellent writers. Besides, Williams shows how Strunk & White flout their own advice to "omit unnecessary words": he edits their 199-word paragraph to just 51 words (Williams, pp. 126-28). Williams shows grace in conceding that "in boiling down that original paragraph to a quarter of its original length, I've bleached out its garrulous charm."
In his preface to the 289-page book, Williams urges the reader to "go slowly" as it's "not an amiable essay to read in a sitting or two.... Do the exercises, edit someone else's writing, then some of your own written a few weeks ago, then something you wrote that day."
I assigned STYLE as the main textbook in Advanced Editorial Workshop, a ten-week course, I taught at the University of California. Each term, students rated the book as excellent. (The prerequisite to the workshop was a review course, with the main textbook "The Harbrace College Handbook." Although STYLE includes a 32-page appendix summarizing grammar and punctuation rules, most readers would be well-advised to review a standard college handbook, such as the Harbrace or Bedford. See my review of Bedford, seventh edition on Amazon.)
To date, Amazon has published 42 reviews of STYLE. The one-star reviews criticize the author's own writing in the book as lacking grace. Let's not forget that this is a text- and work-book -- occasional pedagogic tone is to be expected. On the whole, the author's voice sounds earnest, refreshingly honest: Commenting on what's new in the ninth edition: "Finally, I've also done a lot of line editing. After twenty-five years of revising this book, you'd think by this time I'd have it right, but there always seem to be sentences that make me slap my forehead, wondering how I could have written them."
His expository style is clear. Two examples: Introducing the concepts of cohesion and coherence, Williams writes, "We judge sequences of sentences to be cohesive depending on how each sentence ends and the next begins. We judge a whole passage to be coherent depending on how all the sentences in a passage cumulatively begin. . . . It's easy to confuse the words cohesion and coherence because they sound alike. Think of cohesion as pairs of sentences fitting together the way two pieces of a jigsaw puzzle do. Think of coherence as seeing what all the sentences in a piece of writing add up to, the way all the pieces in a puzzle add up to the picture on the box."
"You can write a long sentence but still avoid sprawl if you change relative clauses to one of three kinds of appositives, resumptive, summative, or free. You have probably never heard of these terms before, but they name stylistic devices you have read many times and so should know how to use.
To create a resumptive modifier, find a key noun just before the tacked-on clause, then pause after it with a comma . . . . Then repeat the noun ... and that repeated word add a relative clause beginning with `that': 'Since mature writers often use restrictive modifers to extend a line of thought, we need a word to name what I am about to do in this sentence, a sentence that I could have ended at that comma, but extended to show you how resumptive modifiers work.'"
"To create a summative modifier, end a grammatically complete segment of a sentence with a comma . . . . Find a term that sums up the substance of the sentence so far . . . . Then continue with a relative clause beginning with `that': 'Economic changes have reduced Russian population growth to less than zero, a demographic event that will have serious social implications.'" And, free modifiers: "Like the other modifiers, a free modifier can appear at the end of a clause, but instead of repeating a key word or summing up what went before, it comments on the subject of the closest verb.
"'Free modifiers resemble resumptive and summative modifiers, letting you (i.e., the free modifier lets you) extend the line of a sentence while avoiding a train of ungainly phrases and clauses.'" In the preceding sentence, Williams simultaneously explains and exemplifies the concept of free modifiers.
In the chapter titled "Elegance," Williams points out that "the device that often appears in elegant prose" is the use of resumptive and summative modifiers. An example from Joyce Carol Oates, using two resumptive modifiers: "Far from being locked inside our own skins, inside the `dungeons' of ourselves . . . our minds belong . . . to a collective `mind,' a mind in which we share . . . the inner and outer experience of existence."
In the final chapter, "The Ethics of Style," Williams takes on academics who "rationalize opacity," with a ". . . claim that their prose style must be difficult because their ideas are new, they are, as a matter of simple fact, more often wrong than right. . . . Whatever can be written can usually be written more clearly, with just a little more effort."
Well-crafted writing emerges only from repeated rewriting. This five-star text- and workbook teaches the exacting--and joyously rewarding--craft of rewriting. Moreover, I wholly agree with the author's observation on writing clearly and cognitive psychology: "The more clearly we write, the more clearly we see and feel and think."
-- C J Singh
12 of 13 people found the following review helpful.
Write for the People
By doomsdayer520
Some style guides are highly respected in the writing community, but others are just vanity operations by literary snobs who think they're important enough to tell the rest of us how to write. There's a reason this guide by Williams has made it through nine editions, and that's because he has gained respect while debunking the condescending language snobs. Williams presents fairly standard recommendations on word choice and sentence construction, but the key to this book is its organization. Constructing this guide around the maters of clarity, grace, and ethics leads to a great amount of illumination on the opportunities and responsibilities of writing. Williams is not afraid to cut down style tyrants and academic obfuscators, with bodacious convictions like "it's a language of exclusion that a democracy can't tolerate" and "what is at stake is the ethical foundations of a literate society." But unlike his opponents, Williams can back up such convictions with serious tips for avoiding language that will make you look like an obtuse egghead, a shifty demagogue, or any other villain who talks down to the reader. And while you can get basic style tips anywhere, Williams has the edge in making you realize why you should care about strong style, besides pleasing your instructor. You can also write for yourself and for the people.
(Note: this rather skinny book just barely avoids being docked one star for its excessive retail price. Find a cheap used copy of an older edition, which would not really be "outdated" as you'll only be missing a few minor updates.) [~doomsdayer520~]
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