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A Writer's Grammar is a lively, engaging, and writing-intensive introduction to grammar from a rhetorical and stylistic perspective. A Writer's Grammar makes clear and interesting the relationship between good writing and grammatical knowledge. Presenting grammatical concepts in a hierarchical manner, it builds logically from basic elements to more advanced concepts, showing how grammar affects a writer's style. Writing instruction within each section gives students guided practice to help them apply their knowledge and integrate a new and deeper understanding of language.
This lively textbook on grammar helps writers of all abilities understand how the English language functions in contemporary life. It begins with a close examination of sentence patterns, word classes, and syntactical transformations, laying a structural base for understanding usage. Examples from a variety of published writers further your understanding of writing well from a rhetorical and stylistic perspective. Whether youre a beginning student, an advanced grammarian, or someone who wants to know more about how language works and how to use it, this textbook gives you what you need. Learn how to manipulate, join, and transform patterns that undergird sentences; write sentence patterns, transformations, and figures to establish habits of strong and varied sentence building; compare kinds of grammatical and rhetorical structures and their effects on readers; and analyze sentences and chunks of text for grammatical underpinnings and rhetorical effect. Become a better writer by understanding grammar, usage, and punctuation with the explanations, examples, and exercises in Grammar for Writers.
Not loaded with theory, Skip's invaluable book contains concise, easily understood and applied advice for both writing and marketing any kind of book, article, story, play, screen-play, report, proposal or anything else you can think of.How to Write What You Want and Sell What You Write is for every writer or wannabe who needs to sort out his or her desires, capabilities and strengths and, even more importantly, learn the particular formats for the kind of writing in which he or she is interested.
This three-in-one guide is the perfect addition to any professional or amateur writer's bookshelf. Aimed at those who use language in their day-to-day lives, it is divided into three parts. The Grammar Guide provides clear, comprehensive guidance on sentence structure, parts of speech and punctuation; the Vocabulary Builder helps you choose the right word by listing commonly confused, misused and cliched words; the dictionary of Literary Terms provides concise definitions of linguistic forms. The budding writer can use this guide to quickly enhance their style and improve their word power. The rules and advice provided are accompanied by usage examples throughout.
Grammar Choices is a different kind of grammar book: It is written for graduate students, including MBA, master’s, and doctoral candidates, as well as postdoctoral researchers and faculty. Additionally, it describes the language of advanced academic writing with more than 300 real examples from successful graduate students and from published texts, including corpora. Each of the eight units in Grammar Choices contains: an overview of the grammar topic; a preview test that allows students to assess their control of the target grammar and teachers to diagnose areas of difficulty; an authentic example of graduate-student writing showing the unit grammar in use; clear descriptions of essential grammar structures using the framework of functional grammar, cutting-edge research in applied linguistics, and corpus studies; vocabulary relevant to the grammar point is introduced—for example, common verbs in the passive voice, summary nouns used with this/these, and irregular plural nouns; authentic examples for every grammar point from corpora and published texts; exercises for every grammar point that help writers develop grammatical awareness and use, including completing sentences, writing, revising, paraphrasing, and editing; and a section inviting writers to investigate discipline-specific language use and apply it to an academic genre. Among the changes in the Second Edition are: new sections on parallel form (Unit 2) and possessives (Unit 5) revised and expanded explanations, but particularly regarding verb complementation, complement noun clauses, passive voice, and stance/engagement a restructured Unit 2 and significantly revised/updated Unit 7 new Grammar Awareness tasks in Units 3, 5, and 6 new exercises plus revision/updating of many others self-editing checklists in the Grammar in Your Discipline sections at the end of each unit representation of additional academic disciplines (e.g., engineering, management) in example sentences and texts and in exercises.
The author examines the topic of grammar, suggesting ways of teaching grammar rules that should never be broken, and identifying what he calls "myth rules" that are commonly taught but infrequently followed, and that can hinder students' interest in writing.
Not your same old boring grammar guide! This book is fun, fast, and focused on writing amazing fiction. The world of grammar is huge, but fiction writers don't need to know all the nuances to write well. In fact, some of the rules you were taught in English class will actually hurt your fiction writing, not help it. "Grammar for Fiction Writers" won't teach you things you don't need to know. It's all about the grammar that's relevant to you as you write your novels and short stories. Here's what you'll find inside: Punctuation Basics including the special uses of dashes and ellipses in fiction, common comma problems, how to format your dialogue, and untangling possessives and contractions. Knowing What Your Words Mean and What They Don't including commonly confused words, imaginary words and phrases, how to catch and strengthen weak words, and using connotation and denotation to add powerful subtext to your writing. Grammar Rules Every Writer Needs to Know and Follow such as maintaining an active voice and making the best use of all the tenses for fast-paced writing that feels immediate and draws the reader in. Special Challenges for Fiction Writers like reversing cause and effect, characters who are unintentionally doing the impossible, and orphaned dialogue and pronouns. Grammar "Rules" You Can Safely Ignore When Writing Fiction Each book in the "Busy Writer's Guides" series is intended to give you enough theory so that you can understand why things work and why they don't, but also enough examples to see how that theory looks in practice. In addition, they provide tips and exercises to help you take it to the pages of your own story with an editor's-eye view. Most importantly, they cut the fluff so you have more time to write and to live your life."
The first of Nicola Griffith’s beloved Aud Torvingen crime series. It would be so easy—a step, a smile, swift whirl and grab, and snap: done. I even knew how she would fall, what a tiny sound her last sigh would be, how she would fold onto the pavement. Eight seconds. Aud Torvingen is a rangy six-footer with eyes the color of cement and the tendency to hurt people who get in her way. Born in Norway, a land of ice and snow, she now lives in Atlanta, luxuriating in the lush heat and brashness of the New South, gliding easily between the worlds of the elegant elite and the criminal underbelly, beautiful and functional as a folded razor. On an April evening between thunderstorms, Aud turns a corner and collides with a running woman. She catches the scent of clean, rain-wet hair, thinks, Today, you are lucky, and moves on—and behind her the house explodes in a tiger lily of flames. When Aud turns back, the woman is gone. But the woman, Julia, returns, seeking Aud’s protection in a deadly international game of art forgery, drugs, money laundering, and murder. But Aud knows danger. When danger sits opposite and offers you the dice, you should walk away. Danger loads the dice, it cheats. But for Julia, Aud will play—and risk losing herself in that cool blue place where everything slows to crystal clarity and violence is bliss . . . Nicola Griffith’s The Blue Place reshapes the noir suspense novel into something refreshing, and excitingly new.
Rather than attempting to comprise all aspects of grammar the way that standard texts do, this concise guide simply covers the ?Dirty Dozen”?the 12 most common grammatical mistakes?demonstrating how to fix them with a variety of fresh examples. The compact and convenient format makes it ideal for rendering quick-and-easy ?first aid” in the field, presenting its material creatively and visually in a simplified, graphic approach. Ideal for anyone from high school students to middle-aged office workers, this reference is the all-inclusive solution for those who need answers immediately, proving that getting help with grammar doesn't have to be boring or burdensome.