Monday, December 6, 2021

What is Dative Case?

 

English makes use of four "cases" - Nominative, Genitive, Accusative, and Dative.

The term "case" applies to nouns and pronouns.

The case of a noun or pronoun is determined by what the word does in the sentence.

A noun or pronoun is in the "Nominative Case" when it is the subject of a sentence, or when it completes a being verb.

A noun or pronoun is in the "Genitive Case" when it shows possession.

A noun or pronoun is in the "Accusative Case" when it receives the action of a transitive verb, or when it serves as the object of a preposition. Another term for "Accusative" is 'Objective."

A noun or pronoun is in the Dative Case when it is used as an indirect object.

Ex. Oma gave me a puppy.

This sentence contains two objects, a direct object and an indirect object.

To find the direct object, find the verb and ask "what?"

Question: gave what?
Answer: gave puppy.

Puppy is the direct object. It receives the action of the verb.

To find the indirect object, find the verb and ask "to whom?" or "to what?" "for whom?" or "for what?"

Question gave to whom?
Answer: to me

Me is the indirect object.
Me is a pronoun in the dative case. It does not receive the action of the verb directly, but it does receive it indirectly.

Here are some more examples of sentences that contain nouns or pronouns in the dative case:

The king gave his son his crown.
Gwen sent her boyfriend a Valentine.
The mother made them Koolaid.
I read my children the Narnia books.
The Eagle Scout built the homeless man a shelter.

TIP: The indirect object always stands between the verb and its direct object. (I suppose it might be possible to find some exceptions in Milton.)

When a personal pronoun is used as an indirect object it will, of course, take the object form: I baked him a cake.

The teaching of formal grammar in the American English classroom has been in decline for many years now. An academic debate about "explicit" and "implicit" grammar instruction rages. As with most debates, each side has valid points to make.

A mind-numbing, isolated exercise approach is not desirable, but neither is throwing out all formal grammar instruction. Students need to be taught the terms--especially if they intend to study a foreign language.

Tuesday, November 23, 2021

Attributions - He said, She said

Attribution is the convention in composition of identifying a speaker or writer when you include direct quotes (which should be enclosed in quotation marks) or paraphrases. An entire system of usage -- a choreography, if you will -- has developed around how to arrange quotations and paraphrases and their attributions. Here are the dance steps:

“The basic setup is to reproduce a single sentence, followed by an attribution,” he began. “Then, if the quotation consists of more than one sentence, follow the attribution with the rest of it.” If the quotation extends for more than one paragraph, do not close the first paragraph with an end quotation mark; this omission signals to the reader that the same person is being quoted in the next paragraph.

In that next paragraph, rinse and repeat. Many publications, however, treat long quotations as extracts, specially formatted with narrower margins, sometimes in a different font or font size, and set off from the rest of the text. The tipping point for minimum word count for an extract varies, starting at about a hundred words.

Attributions can also precede a quotation: “The report concluded, ‘Meanwhile, the ecosystems it is intended to save are in peril.’” Or they can be inserted within one, in a natural breaking point: “‘For millions of people,’ she added, ‘reclaimed water has become as ordinary as storm sewers and summer droughts.’”

Beware of sentences that introduce the attribution before the end of the sentence when there is no internal punctuation. Sometimes it works: “‘The lesson,’ Smith says, ‘is that we should have paid more attention to what nature was telling us.’” Sometimes it doesn’t: “‘We knew,’ Jones says, ‘that Microsoft would eventually become a major competitor.’”

You’ll notice that some attributions in the samples above are in present tense, and some are in past tense. Which is correct? The answer is, either. It depends on the medium. News articles generally employ past tense because they’re reporting on an event that has already occurred or recording what someone said about an event, while features and profiles, crafted to make you feel like you are at the writer’s shoulder, often feature present tense.

Books referring to the past, appropriately, quote historical figures with past-tense attributions, but those with interviews of real, live people are likely to be written with attributions formed in the present tense. In all expository writing, let these parameters be your guides.

And what about fiction? Writing novels in the present tense is rare; it can be distracting -- or, worse, exhausting. It’s easier to get away with it in short stories.

 

Wednesday, September 29, 2021

Deus ex machina

Deus ex machina is a plot device. It is a character or an event introduced at the last minute to save a character or resolve the story. An author uses it because he's written himself into a corner. It is unexpected and does not arise from the logic of the story up to that point:

The hero's car is teetering at the edge of a cliff in a remote wilderness. The front wheels are over the abyss and the hero can't open the door to jump to safety. The hero can do nothing to save himself. Just then, out of the blue, a helpful stranger happens to drive up in a tow truck and pulls car and driver to safety. That's deus ex machina.

 

Monday, September 13, 2021

Answers to Questions About Non-Bookstore Marketing

 

"Because of high costs, I need to price my book at $19.95, but my competitor's book is $14.95. How can I compete with that?" George Lascar

 

The price of your book is a feature; the value of your book is a benefit. Customers attach value to books in proportion to the extent they believe it will help them solve their problems. If your book is more expensive than competitors' books, your promotional material must translate the price into value for the consumer. One way to do this is to describe the incremental difference and what the reader receives for it. Since your $19.95 book is $5 more than the competition, demonstrate to the potential buyers what they will gain in exchange for paying $5 more. Or, you could appeal to their fear of making a wrong decision and how much they will lose by not spending the additional $5. In either case you will be more effective if you communicate the value your book offers your customers.

 

You can also use a surrogate indicator, a cue that takes the place of a buying criterion, to demonstrate the benefits of your higher price. These cues include endorsements, guarantees and slogans. Even the way you write the price makes a difference. For example, which looks like a larger figure, $5 or $5.00? If you want to make a price look smaller do not include the numbers to the right of the decimal point. On the other hand, if you want to accentuate the difference, include the decimal point and zeroes.

Friday, September 3, 2021

Naming a Character

The most unforgettable fictional characters begin as a glimmer in the author’s mind. Only in writing the novel does the character go on to acquire the dimensions that will make him or her live in the imagination of the reader years after the book has been read.

Sherlock Holmes, Captain Ahab, Huckleberry Finn, Jo March, Dorothea Brooke linger in our memories as if they were real people we have known.

These examples are all from the English classics, but even the writer whose ambitions focus on something less monumental than Moby Dick or Middlemarch needs to give adequate thought to the principal character/s who will carry the story, whether it's a light mystery, a romance, or a middle school adventure.

The place to begin is with the character’s name.

Some writers, in a hurry to start that first draft, will tack the first name that comes to mind on the main character, intending to come up with a better name “later on.”

Bad idea.

A purely practical objection is the danger that the substitute name will creep into a few paragraphs in the completed draft, creating embarrassment for the author and confusion in the reader.

A more important reason to begin with the most appropriate name is that the name is part of the character’s persona and can inform the developing action. The right name can also send a subliminal message to the reader. Take the name Atticus Finch.

The antique Roman name Atticus suggests formality and is imbued with connotations of law and justice. Finch is the name of a harmless bird and, as such, reflects the title of the book, To Kill a Mocking Bird. Harper Lee may or may not have been aware of the useful qualities of the finch as a destroyer of weeds and harmful insects, but Atticus Finch lives in our memories as a dignified representative of the law doing what he can to protect the social garden from destructive influences.

The very letters in a name can connote characteristics. The k sound suggests strength and courage. Consider: James T. Kirk, Kinsey Millhone, Alex Cross, Brother Caedfal, Kate Beckett.

Other sounds, like those of h and r and the vowels, can suggest such characteristics as weakness, hypocrisy, and—sometimes—evil. Consider: Iago, Humbert Humbert, Professor Moriarty, Dorian Gray, Uriah Heep.

A combination of strong and weak sounds can produce a name that suggests a multi-layered character who possesses strength and courage, together with a willingness to use others to their advantage. Consider: Becky Sharp, Scarlett O’Hara.

The sounds of l and n may suggest sexiness or feminine weakness: Ulalume, Lolita, Annabelle Lee, Anna Karenina.

And, finally, it’s possible to incorporate a suggestive word in the name of a character. Holly GoLightly’s name contains the sexy l 's, together with a word that conveys her unconscionable view of life. Bigger Thomas, born in different circumstances, could have had a bigger, better fate. Edward Murdstone has a heart of stone and a murky disposition. Sam Spade digs ploddingly for information, while Mike Hammer gets what he’s after by any means necessary.

Before you get too far into that first draft, take the time to give your protagonist the right name.

 From: Daily Writing Tips

Monday, June 14, 2021

5 Ways to Minimize Prepositional Phrases

 

A prepositional phrase is a series of words beginning with a preposition and providing additional information in a sentence that pertains to position (hence the word preposition) or relationship; the phrase “with a preposition” is itself a prepositional phrase. Though such phrases are not inherently undesirable, they are often easily avoidable contributors to compositional clutter. This post lists and describes five strategies for eliminating prepositional phrases by omission or alteration.

1. Use Active Voice

Keeping your writing in active voice is the best way to make your work fresh and interesting.

A prepositional phrase beginning with by often signals an opportunity to convert a passively constructed sentence into active voice (and render it more concise), as when “The action was seen by observers as nothing more than a delaying tactic” is revised to “Observers saw the action as nothing more than a delaying tactic.”

2. Omit Prepositions
Many nouns pertaining to a characteristic or a quality are nominalizations, or buried verbs, which are valid words but should be used in moderation, if at all, because they encourage verbose and overly formal composition. The sentence “They conducted an investigation of the incident,” for example, becomes more concise when one converts the noun investigation into its verb form and alters the rest of the sentence accordingly: “They investigated the incident.” (This strategy reduces the three-word prepositional phrase by only the preposition itself, but it further simplifies—and shortens—what comes before.)

3. Omit Prepositional Phrases
In the sentence “John Smith is the best runner on the team,” the prepositional phrase “on the team” may already be apparent from the context, so consider omitting it: “John Smith is the best runner.”

4. Use Adverbs in Place of Prepositional Phrases

Use this recommendation with care. Too many adverbs (ly) words can make your verb usage weak. In this instance, search Roget's International Thesaurus for a stronger verb that does not require a supporting adverb.

Just as conversion of a nominalization into a verb can render a prepositional phrase unnecessary, such a phrase can be eliminated by changing an adjective to an adverb and further revising the sentence accordingly: “Jane stared at him with a quizzical expression” becomes “Jane stared at him quizzically” (or even, by omitting the sentence’s other prepositional phrase, “Jane stared quizzically”).

5. Use Genitives in Place of Prepositional Phrases
A genitive, or possessive, can substitute for a prepositional phrase beginning with of, as when “John sensed the annoyance of his teacher when he offered yet another glib excuse” is revised to “John sensed his teacher’s annoyance when he offered yet another glib excuse.”

From: Daily Writing Tips

Wednesday, May 19, 2021

You Know It’s Creative Writing When...

 

Five fundamental elements are the clearest way to distinguish between well-written non-creative writing and creative writing. You can write about the same subject matter in a different way, but creative writers will use poetic license and storytelling tools to bring a story to life.

1. It’s told from a specific point of view

Point of view humanizes a narrative by offering personal insights and perspectives. Unlike news reporting, which aims to be impartial and objective, creative writing leans into the fact that each writer has a unique personality, and uses this to its advantage. From using first person and owning your ‘I’ to express your feelings or experiences, to dramatizing the gaps of communication between characters in a fictional piece, contrasting viewpoints make a work ever more immersive, vivid, and inherently interesting to read.

Need an example? Take Truman Capote’s In Cold Blood and contrast it with news accounts of the same murder. Capote’s book gives the reader a closer perspective of the killers, making an effort to understand them, whereas news reports simply list the facts in chronological order.

2. Its narrative structure is designed to engage readers

Fiction and nonfiction share an important unifying core: that of narrative structure. Both use the principles of storytelling to express events, realizations, or complicated plots and subplots. Regardless of what happens in each narrative, the opening, ending, and in-between sections of a piece of writing need to be tightly structured for cohesion and coherence. 

A personal essay that does this well is Lilly Dancyger’s essay “Don’t Use My Family For Your True Crime Stories''. Instead of a chronological retelling of her cousin’s murder and her own subsequent grief and aversion to true crime writing, Dancyger opens by introducing the fact of the murder then briefly visits the present to explain her current feelings, before returning to the past to narrate how she and her family heard of Sabina’s murder. This structure allows the reader to empathize by mirroring the shock of death: being taken by surprise is followed by a need for facts and explanations. 

Top of Form

Bottom of Form

3. Tension is used to make readers feel invested

Whether the tension arises from an impending realization or comes in the form of suspense as the perpetrator of a crime is about to be revealed, the existence of tension means that a writer has managed to write something where the stakes are high, and the reader feels emotionally or intellectually invested. The Serial podcast, for example, does this particularly well, as it tells a true story in a serialized form with cliffhangers and a central mystery. 

4. A central theme is used to organize the narrative

 

Life, it must be said, is not quite as neat as literary theme analysis will have you think. Writing, however, tends to operate as an opportunity for thoughts, feelings, and events to be organized into information the reader can process. Because of this process of organizing thought, certain central themes appear in each work. In a memoir, for example, that might be the lessons someone has learned, or the principle they believe best represents their experiences. To give you an example, Michelle Obama’s aptly named Becoming keeps returning to the same conclusion after reviewing each of her experiences: that you, too, can become whatever you want, despite adversity. In this case, the story’s recurring themes are hope, growth, and perseverance in the face of discouragement. Unlike the dry Wikipedia page giving Michelle Obama’s biography, Becoming is a compelling piece of creative writing that tells a cohesive story by focusing on this central theme.

5. Literary devices are used freely

Imagine reading the newspaper and encountering a report of an accident that begins with this sentence:

 “The sun had just begun to awaken, emerging sleepily from the shadowy depths behind the skyscrapers and casting a pale yellow light onto the street when Yamada Kumiko had a terrible accident.” 

That’s a tad too poetic for a newspaper article, isn’t it? Aside from being tragically insensitive given the accident context, the reason this sentence feels so wrong is that it uses figurative language in a way that is not common for factual journalism. That’s because literary devices (and some rhetorical devices, too) are generally reserved for work considered to be creative writing, instead. Otherwise, it might feel a little bit like the writer is showing off in the wrong context — if your washing machine troubleshooting guide is all ornate turns of prose, something’s gone wrong (and your machine is likely to stay broken).

We hope this guide has armed you with the questions you need to ask if you’re ever unsure about whether something is considered to be ‘creative writing’ — why not turn your attention to trying creative writing yourself next? May your writing flow not like a faucet, but a waterfall: abundant, uninhibited, and breathtaking to all who behold it.

 

Thursday, April 22, 2021

Stay Trim and Tidy

 

Short, efficient sentences are easier to read. To get really concise, try the Hemingway Editor, an online editor or a Desktop package ($19.99) that will make your prose as linguistically efficient as the renowned author's.

A few pro tips for trimming down the word count:

“That” is a word that you do not need. Take out the second “that” in the previous sentence, and it still makes perfect sense.

No need to use multiple syllables or extra words when one will do. "Utilize" → "Use." "In order to" → "To."

Be spartan with your adverbs and adjectives. Too many are distracting.