The New Oxford Guide to WritingOxford University Press, 1988 - 327 страници Many books on writing tell you how to think more creatively, how to conjure up an idea from scratch. Many, once you have an idea, show you how to express it clearly and elegantly. And many handbooks offer reliable advice on the use of commas, semicolons, and so forth. But The New Oxford Guide to Writing does all three, so that no matter where you find yourself in the writing process--from the daunting look of a blank page, to the rough draft that needs shaping, to the small but important questions of punctuation--you will find what you need in one handy, all-inclusive volume. Highlighted by numerous examples of successful prose--including marvelous, brief excerpts from Mark Twain, Joan Didion, H.L. Mencken, E.B. White, and Annie Dillard--this stimulating volume covers the entire subject step-by-step, clearly and authoritatively. It shows: ___*How to use commonplace books and journals to store ____ideas, how to brainstorm, how to explore a potential ____topic systematically ___*How to use a statement of purpose or an outline to ____give preliminary shape to your material, how to use ____drafts and revisions (and more revisions) to refine ____your ideas ___*How to open an essay clearly and interestingly, how to ____lead the reader subtly, how to use qualifications to ____express complexity without sacrificing impact ___*How to organize ideas into a coherent paragraph, how ____to vary sentence structure and length for variety and ____emphasis ___*How to select words that convey both information and ____point of view ___*And much, much more In addition, it contains a useful appendix on punctuation, ranging from commas and periods to underlining and capitalization. Whether you write for business or for pleasure, whether you are a beginner or an experienced pro, The New Oxford Guide to Writing is an essential addition to your reference library, providing abundant assistance and encouragement to write with more clarity, more color, and more force. |
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Страница 152
... look upon a different America than the middle class looks upon . Michael Harrington Generally the same sentence contains both the negative and the positive statements ( as in the first two examples here ) . In an extended passage , neg ...
... look upon a different America than the middle class looks upon . Michael Harrington Generally the same sentence contains both the negative and the positive statements ( as in the first two examples here ) . In an extended passage , neg ...
Страница 242
... look it up . If you can't stop or have no dictionary nearby , make a check in the margin ( assuming the book is your own ) or write the word on a piece of paper . Without such a reminder you will probably only remember that there was ...
... look it up . If you can't stop or have no dictionary nearby , make a check in the margin ( assuming the book is your own ) or write the word on a piece of paper . Without such a reminder you will probably only remember that there was ...
Страница 277
... look at these first . Then we look at the other marks . These more purely visual signals do not mark pauses ( though on occasion some of them signal voice intona- tions ) . They include the apostrophe , the quotation mark , the hyphen ...
... look at these first . Then we look at the other marks . These more purely visual signals do not mark pauses ( though on occasion some of them signal voice intona- tions ) . They include the apostrophe , the quotation mark , the hyphen ...
Съдържание
Introduction | 3 |
Grammar Usage and Mechanics | 11 |
Drafts and Revisions | 28 |
Авторско право | |
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abstract adjective adverbs Aldous Huxley Barbara Tuchman beginning better Brand Blanshard called chapter clarity closing colloquial colon comma composition CONCISE connotations construction context conventional coordinated deadwood depends diction dictionary effect emotion emphasis emphatic English essay example express F. L. Lucas fact feel final formal fragments function G. K. Chesterton grammatical ideas implies important independent clauses instance irony italics James Baldwin Joan Didion John Lardner kind language less look main clause marks meaning metaphor modifiers Morris Bishop noun object opening organization P. G. Wodehouse paragraph parallel parataxis participle passage pattern perception polysyndeton prepositional prose punctuation purpose quotation readers rhetorical questions rhythm semicolon sense sentence signal simile sometimes sound specific speech statement story strategy stress structure style subordinate syllables tence thing thought tion tone topic usage usually verb WORDY writer