3 Books For Sharper Writing
By: Mitchell G.
Tags: Publishing, Books, Creativity, Self Improvement, Writing

3 Essential Books That Will Sharpen Your Writing

After my first article was published I was elated and eager to publish a second, third, fourth, etc. For some reason, getting published a second time seemed more difficult than the first. It suddenly became hard to convey the simplest ideas without overthinking every step. Shouldn’t it be the other way around? Perhaps I’m applying too much pressure? Could this be resulting in a lack of focus?

Beyond these more abstract problems, holes started appearing in my technical understanding of the English language. While editing questions arose, “Does the subject call for a plural or singular verb? Is this a complete sentence, or a dependent clause? Does this phrase need an adjective, or an adverb ending in -ly?” Sometimes, my sentences would drag on forever, the end no longer understood the beginning; surrounded by unnecessary and confusing transitions. It was time to get back to basics and strike at the root of writing.

The following books cover the essential cornerstones of writing and provide a solid foundation to write with confidence. Command the rules of English, connect with unique prose, stay on subject, and find novelty within. In short, these seminal guides will make writing easier, more enjoyable, and rhythmic.

1. The Blue Book of Grammar and Punctuation — Jane Strauss

The Blue Book is essential for every serious writer. The grammar section reviews all parts of speech, dependent and independent clauses, vague vs. concrete writing, active vs. passive voice, the proper use of -ly at the end of adverbs, and parallel constructions (to name a few). Strauss also addresses more subtle grammatical elements, including the following: unnecessary prepositions, the degrees of adjectives, dangling modifiers, or confusing the plurality/singularity of the subject-verb agreement. All definitions come equipped with concise examples.

The second section addresses punctuation. Never miss that tricky appositive comma, or forget to surround nonessential descriptions with commas, while leaving essential phrases comma-less. Eliminate the dreaded run-on sentence aka, comma splice and avoid stumbling over awkward apostrophe endings.

The third section tackles homonyms and easily confused words. Don’t get tripped up by words such as: attain/obtain, apposite/opposite, allusive/illusive, complacent/complaisant, discreet/discrete, or ingenious/ingenuous. Being aware of these small differences is imperative, as misuse will undermine writing authority.

It may seem tedious, but this book will provide the necessary tools needed for sound writing and its precepts will last a lifetime. It’s tempting to rely solely on grammar apps and bypass this fundamental building block. However — unlike the mind — apps have limitations. For one, apps cannot help with speaking correctly. And two, someone who publishes regularly could be offered to teach writing, but if the foundations of grammar and punctuation are not understood that opportunity is wasted.

Knowing the intricacies of English enables the writer to bend or break its rules for unique purposes. This power will add a nuanced fluidity to prose not easily imitated, edge it above the competition, and increase the chance of success.

2. Several short sentences about writing — Verlyn Klinkenborg

All writing starts with building a strong sentence. But, before finding this work, I subconsciously associated a long sentence as being a good sentence. Furthermore, concentrating on how sentences related to one another, instead of focusing on how each sentence stood alone diffused my writing. Freeing me from these illusions inverted my thinking and helped cultivate novel approaches.

Unlike Strauss, no definitions of the English language will be provided. However, important rhetorical devices and subtle rules such as the following: irony, hyperbole, analogies, participles, and the antecedent-pronoun relationship are brought to attention. Being aware of complex grammatical rules and literary tools increases expression. Even more exciting, toward the end of the book, Klinkenborg walks through examples of how to produce concise rhythmic sentences.

Numerous unconventional techniques are supplied to question stifling methods and induce new perspectives. For example, my writing had lost itself because I was trying to write perfectly in hopes of being published. In order to relax my prose and connect with the reader, Klinkenborg told me to write as I would in a letter to a friend. A visualization that brought me back to how I wrote before the fear of rejection.

Other conventional myths are also exposed. We often think that good writing should flow effortlessly and that something is wrong if doesn’t feel natural. Writing is work. In the beginning it’s not as simple as thinking a thought and writing it down. Our thoughts often have emotional and non-verbal aspects that get lost in translation when we put words on the page. At first, there’s nothing natural about writing and there’s nothing wrong when it feels that way. In fact, this friction is how writing gets sharper — like a blade upon a whetstone.

Klinkenborg is a profound contrast to the generally accepted theories about writing. It made me second-guess everything I thought I knew and opened a plethora of inventiveness and creativity — ignore it at your own peril.

3. The Craft of Revision — Donald M. Murray

Primarily used in colleges around the nation, The Craft is full of tested methods. It provides an explicit step-by-step process of revision from the first draft to a final draft ready for publication. This work also includes tools for brainstorming, genres, and zooming in and out on a subject like the lens of a camera. Further, it teaches how to incorporate the elements of surprise, connection, and conflict. These approaches build the critical skill of supplying vast amounts of information to the reader in the least amount of space while remaining entertaining.

One tool I found useful is what Murray refers to as the discovery draft. This draft is meant to explore the unknown within the frame of the subject, which can lead to surprises. For instance, I was perplexed by the fact that getting published a second time was harder than the first, providing a contradiction for this article. Often times what surprises us is exciting. If what I’m writing bores me, how can I possibly expect others to want to read it?

Murray helps writers focus on a single idea, or sentence, and build around that centrality. For this article, I needed to ask, “How can I address my shortcomings in writing, while simultaneously helping others who may be experiencing the same problems?” By constantly returning to this theme, it prevented me from adding distracting material or straying off course. I like to visualize this technique as a growing hurricane, everything revolving toward one main center.

The Craft is full of interviews with authors who reveal their intimate strategies and struggles. Even professionals get rejected from publication sometimes, which put things in perspective. In fact, the more one is published the more pressure is applied to keep getting published. This dynamic can result in overcompensation and paralysis — a further answer to the question of why it can be harder to get published a second or third time. In short, The Craft is a quintessential guide for writers of all levels.

In summary

These books are perfect for building a solid writing foundation because they complement each other within their own area of expertise. For example, Klinkenborg reveals the importance of short sentences but Strauss makes sure those sentences aren’t dependent clauses; and while Strauss provides the necessary rules needed to utilize proper English, Murray lays out a blue print for drafting professional articles.

These books are great to read in tandem. When I could no longer handle the analytical study of grammar, my brain easily shifted to the abstract creativity of Klinkenborg. Or, when I was tired of deciphering the recondite wisdom of Klinkenborg, the simplicity of Murray was a welcome antidote.

There are times when Klinkenborg and Murray will contradict one another. These contrasts are important as they will force the mind to question, connect, and cross reference divergent techniques. What works in one circumstance could be detrimental to another. For instance, it’s generally believed that nouns and active verbs dominate succinct writing. However, if writing a screenplay, poem, or descriptive fiction, a well-placed adjective can do wonders. Context is everything. Like the carpenter, the more tools and skills at our disposal, the more likely we are to complete the task at hand no matter how esoteric or familiar.

Finally, it’s imperative to understand and incorporate the advice of experts but, at a certain point, we must find what works best for us and apply our own insights. In this way, we will become our own authority and further the advancement of writing, language, and knowledge.