Friday 29 June 2012

Do essays make you nervous? You’re not alone.


We all know about how autocorrect and contextual spelling programs (like Microsoft Word and others) are actually changing English (in some cases, killing off words.) We haven’t mentioned something obvious, but crucial: Technology is turning us into much more careless writers. Do you find errors in emails after you’ve sent them? Do you spot embarrassing mistakes in your essays and memos only after they’re turned in? You are not alone. These errors are all too common in business writing and in students’ papers.

According to psychologists, our brains read in two different ways: the lexical route and phonological route. The lexical route is the fast and easy road where we read things that are familiar. It helps us read rapidly in part by skipping joining words like of, the, and a.  This reading route is the most common, and it’s handy for helping us read quickly and efficiently. However, it also means that we read carelessly, especially text we have just written that is flowing through our lexical route. 

The phonological route, on the other hand, is much slower. When we use this route, we sound out each syllable for its meaning. In experiments,  psychologists  flip letters upside down to activate this slower phonological route. When letter orientation is changed, people use the phonological route and are more likely to find their mistakes. However, without changing text formatting or deliberately altering the text, it is very hard to activate that reading route.

Because we primarily rely on the lexical route, we are literally unable to proofread work that we’ve just written, to find mistakes. The best tactic is to wait a day or two, then look at your work with fresh eyes. However, that is not always possible. A term paper or memo may be due in two hours, and you may not have the time to give your reading brain a break.

What is the solution then?
·         Try to get as much relaxation as possible when not having to concentrate on intense work
·         Get someone to check your work for you
·         Take your mind of your current work by doing something that stimulates your brain e.g. Puzzles, Crosswords, Board Games etc
·         Have a light snack
·         Take a short walk
·         Listen to some light music



Thursday 21 June 2012

Sentence Fragments


I know many of you are fiction writers, aspiring writers, or just shake your heads when you read non-traditional grammar in fiction stories. I thought it might be fun to hear from someone who has to manage the crazy grammar that writers try, and often succeed in, to put through the editing process.

A sentence fragment is something that isn’t a complete sentence. Often, sentence fragments are missing the subject that would be present in a sentence, but they can also be missing the predicate.

Example 1:
“You’re not welcome here, Paul.”
Most places in the world, a statement like that sounded normal. Unfriendly, perhaps, but still common, still acceptable.

If you’re like me, it’s perfectly clear to you what is being said here. Granted, the lines have a certain clipped cadence that may not be everyone’s stylistic cup of tea, but they make sense. 

There’s Always a Catch
The catch here is that apart from the line of dialogue, there’s not a single “real” sentence in that excerpt. And this example is hardly an outlier. Fiction writers bend the rules of grammar on a regular basis. Fragmenting in particular is a useful device, in part because, if wielded properly, it can let an author get across information more economically than would be possible with proper grammar, with no loss in clarity.

Example 2:
Echoing gunfire from above. Pookie looked in that direction and saw something amazing. A man leaping off the cavern’s ledge.  Rising up, then arcing down, his legs bicycling beneath him...

This kind of fragmenting is a regular bone of contention. The action is conveys the descriptions using machine-gunning fragments. On the one hand, this is a perfectly valid stylistic move: it conveys the way a viewpoint character, seeing things through a cloud of adrenaline, takes in the action in a series of disjointed snapshots. And fragmenting helps you write economically, right? So if by doing this you are helping an action scene flow along quickly, it should be a big plus.

But for me, this method can potentially read awkwardly, especially when it’s used often. It feels unpleasantly choppy. And it’s fairly easy to tweak these lines in a way that doesn’t actually cost us much in terms of added words — or, putting it differently, the fragmenting here is not, actually, doing much in terms of efficiency. 

What Is the Right Way to Use Sentence Fragments?
At this point you’ve noticed a problem with all this talk about what works and why: it’s completely subjective. That’s the thing about fragmenting, and all the other grammar-breaking tricks fiction writers often employ. They’re risky. When authors write without the safety net provided by the rules of subject, verb, object, etc., the only real guide for what’s right or wrong is their ear. The results can be ugly. Also, fragmenting can easily turn into stylistic tics —or, even worse, ways to excuse sloppy, lazy prose.

Use Sentence Fragments Sparingly and When the Story Calls for It
Sentence fragments in fiction can be a useful way of conveying pace, tone, and intensity. However, overuse can lead to lazy writing – fragments should be used sparingly, and for a good storytelling purpose.

In this article, I questioned whether sentence fragments could potentially make editors reject your work. So, if you are breaking rules, make sure it’s because it’s necessary and adds something, not just because it’s just easier.

Wednesday 20 June 2012

Are slower languages less effective? A few thoughts...


Think of when you’ve listened to someone speak Spanish or Japanese. Does it seem the words flow out very quickly, faster than other languages? Academics would agree with you. For the last decade, linguists have speculated that different languages are spoken at significantly different rates. The challenge has been how to measure the respective speeds.

Recently, the team at the Univer­sity of Lyon in France tried to break down the rate differences between seven languages: British English, French, German, Italian, Japanese, Mandarin Chinese, and Spanish. They compared two different components of language: speech speed and density of information. Speech speed is measured by syllables per second, and density of information is measured by how much information is encoded per syllable. What does that mean? Let’s take an example from English. The one-syllable word “calm” is information dense because it expresses a complex state with only one-syllable. However, “easy-going” uses four syllables to express an idea easily conveyed with fewer syllables. By averaging the information density across a language, the linguists determined the density of information per language.


How did the linguists conduct their experiment? First, they looked at how many syllables per second speakers articulated when reading 20 sample texts. They had 60 native speakers of the languages each read the 20 texts in order to gather an accurate average speed for the language overall. Out of the seven languages, Spanish and Japanese turned out to be the fastest, Mandarin the slowest. However, the second variable – density of information – complicated their results. The languages that were spoken more quickly were less dense with information, and the languages that were spoken slowly were correspondingly denser. So, the information rate for all the languages turned out to be relatively similar across the seven languages.
Linguists have speculated that this average information rate correlates to an innate speed at which the human brain comprehends the world. That, of course, is only speculation. There is no concrete evidence to support that yet.

Do you tend to talk quickly or slowly? Do you wish the language you speak would slow down or hurry up?


Monday 18 June 2012

Do Rhetorical Questions Need a Question Mark?


We are going to discuss two kinds of peculiar questions. Isn’t that going to be fun! "Isn't that going to be fun," is a rhetorical question. We’re also going to learn about its cousin. That’s called a tag question, isn’t it? That last sentence was an example of a tag question.
This all started because of a question from one of my Twitter followers, who wanted to know if the sentence “Isn’t it funny?” is correct, and he’d like to know if he's allowed to use such a construction in formal situations.

Rhetorical Questions
You’ve probably heard rhetorical questions more often than you realise. You start a sentence with a negative word when you mean something positive. So “Wasn’t that movie great?” means that you think the movie was great. It seems counterintuitive, but that’s the way English works. It’s called a rhetorical question, and it can end in either a question mark or an exclamation point, and in dialogue you can sometimes even have a speaker’s rhetorical question end in a period.

Another example of a rhetorical question is “Isn’t she leaving?” That question means you think the woman is leaving, but you want to confirm. Rhetorical questions like this take a negative form. If you make the “Isn’t she leaving?” question positive, it becomes just a regular question: “Is she leaving?” If you ask "Is she leaving?" you don’t know the answer; whereas with the rhetorical question “Isn’t she leaving?” you are assuming she is leaving.

Rhetorical questions have popped up in pop music. Stevie Wonder, for example, wrote a famous song called “Isn’t She Lovely,” whose lyrics begin:

“Isn't she lovely,
Isn't she wonderful,
Isn't she precious,” (2)

Mr Wonder definitely thinks the girl is lovely, wonderful, and precious. No question about that.
These kinds of rhetorical questions seem to be quite conversational. You wouldn’t want to write, “Aren’t I the perfect person for this job?” in a job cover letter, nor would you want to say, “Isn’t it obvious that you should hire me?” in an interview. There are better ways to sound more qualified and more professional. So, Aaron: no, it’s not advisable to use this kind of construction in formal situations.

Tag Questions
The second kind of question we’re talking about today is called a tag question. “Tag questions, a peculiarity of English, are usually spoken rather than written,” states the website English Online. The rhetorical question “Isn’t she leaving?” means about the same thing as “She is leaving, isn’t she?” Students who are learning English often find this kind of construction puzzling because the speaker uses a negative form to mean something positive. As the Interesting Thing of the Day website wisely explains, “The simplest way to make a tag question in English is to repeat the verb, negate it, and then repeat the subject. For example, ‘He is smart’ becomes ‘He is smart, isn’t he?" Note how the word "isn't" is negating the verb "is" from the first part of the sentence: "He IS smart, ISN'T he?"
"If the verb is already negative, you just make it positive. ‘It won’t rain’ becomes ‘It won’t rain, will it?’" So, if we wanted to change Aaron’s rhetorical question “Isn’t it funny?” into a tag question, we would say, “It’s funny, isn’t it?” Both sentences mean “I think it’s funny.”
One clue that tag questions are best left to informal situations is that you often hear them used with contractions, which themselves are a bit informal. It would sound weird to ask "It will not rain, will it?" It sounds much more normal with a contraction: "It won't rain, will it?"

Summary
In summary, rhetorical questions and tag questions are normal parts of everyday speech, but they are informal. It’s therefore best to avoid them in formal situations.

I do hope that this has provided some sort of clarity.


Ways to help your child improve their reading and writing skills?


I want to discuss something really important: The future of our children. The issue of a child’s learning is so blatantly avoided that it could bring one to tears. Being one who would prefer to curb this growing threat to future generations...I’d like for you to take this problem really seriously. Our kids will potentially be around long after we have passed on. So why not build a solid foundation – starting at the beginning.

Research has shown that children whose parents (or any significant adults) read to them are always better students than those who are not read to. Reading to your child exposes him/her to vocabulary, sentence structure, communication skills, and logic. Reading to them shares the joy of reading and storytelling. Reading to them also gives you quality time together, which strengthens your child-parent bond.

1. Encourage your child to read
Provide plenty of reading material that will interest your child - either buy books or take them to the library every few days. If your child is interested in dinosaurs, have books about dinosaurs in the house - both science or non-fiction books and fiction or storybooks, because reading is not just for fun, but also for information. Find out what your child's interests are, and provide books that feed those interests.

2. Help your child
If your child is having trouble reading, first make sure they do not have some sort of correctable problem like poor eyesight. Work with the school to test for learning disabilities like dyslexia, which can cause poor reading skills. Help your child learn vocabulary and spelling so that they can read better – you can either have regular Q&A sessions where you quiz them on vocabulary and spelling words or you can make games like "Word of the Day" where you find fun ways to improve their vocabulary.

3. Set a regular time for schoolwork each day
This will also help with any school subject. Make a special place for them to do their work, someplace where they will not be distracted by a TV, games, cell phones, computer chat rooms, IMs, or anything else. Have at least one hour daily (some children will need longer) during which homework is done – if they say they do not have homework, then they will use the time to read over their material. During this time, you can "assign" reading and writing practice also – have them read a section, then quiz them to be sure they understand what they have read. You can show them how to read for information, how to tell when a term is important in a textbook, and where to look for definitions and more help.

4. Make reading and writing fun
Again, if you use your child's interests, you will have more luck with this. Encourage your child to make up stories and write them down. Don't worry about spelling or grammar at first – just get them to start writing! Read what they have written if they want you to, and talk about their stories over the dinner table, or in the car. The more you encourage them to read and write, the more they will want to – notice I said "encourage" and not nag. The trick is to make it fun for them. 

Go the extra mile
·         Buy a book that your child can read with slight difficulty and once you help them master the words in that book buy the next book up to that one and do the same again and so on.
·         The best way to help a child learn to enjoy reading is to read with them!
·         The best way to help children read better is to have a home where reading is a part of life. Start out reading to the child, and let the child see you reading for enjoyment.
·         Write down the story he tells you then show it to him. Explain to him that he was the one who came up with that story. Then ask him to read the story. 
·         Many popular children's cartoons come in book form. You can also try comic books. You can both take a trip to a local comic book store and let him choose something he likes to read (Make sure it's age appropriate).
·         Throw out your TV. A week without television has been shown to improve reading and attention span.
·         Try getting a tape recorder and have him read a book aloud being taped and then play the tape back to himself while reading the book of his choice.
·         Good old PHONICS help.
·         Keep it simple with a lot of praise for doing well (not "good job") if it's not. Don't be negative but also don't "over praise" for non-performance. Make it fun.
·         Read to him/her every night, preferably at the same time.
·         Stop the story or the book at an interesting part, so that he'll look forward to the next night's story time.
·         Let him choose books on subjects that he is interested in and pick one day out of the week where he gets to read whatever he wants to you!
·         Make a trip to the bookstore fun and exciting...stop at the park first or get a treat afterwards.
·         Let them look at the pages as you read.


Parts of Speech


Hello Bloggers,

For today’s "imparting", I’d like to take you back to basics. I know everyone reading this has gone to school...still, how many of you actually remember the Rules/Parts of Speech?? Here’s a quick recap...Enjoy!

tenor (ten-er)
the subject of a metaphor, such as "she" in "she is a rose."

metaphor (met-uh-fawr, -fer)
a figure of speech in which a term or phrase is applied to something to which it is not literally applicable in order to suggest a resemblance, as in "a mighty fortress is our God."

parable (par-uh-buh?l)
a short allegorical story designed to illustrate or teach some truth, religious principle, or moral lesson.

simile (n.)
a figure of speech in which two unlike things are explicitly compared, as in "she is like a rose."

analogy (uh-nal-uh-jee)
a similarity between like features of two things, on which a comparison may be based.

allegory (al-uh-gawr-ee, -gohr-ee)
a representation of an abstract or spiritual meaning through concrete or material forms.

vehicle (n.)
the thing or idea to which the subject of a metaphor is compared, as "rose" in "she is a rose."

catachresis (n.)
misuse or strained use of words, as in a mixed metaphor, occurring either in error or for rhetorical effect.

Have fun playing with words:)


Friday 15 June 2012

What Is Standard English?


Hello there,

A big hello to each and everyone of you already following me and to those who have been waiting with bated breath for the revamped Easy Editing blog...For my very first post, I thought it appropriate to write about a topic that is literally the reason behind what I do. English!

Being very closely intertwined with the English language, I thought this to be a really interesting piece that I could share with you. Today we’re going to tackle an interesting question: When we talk about “Proper English,” what exactly do we mean? Do we mean the English that you can take home to your grandmother? Do we mean the English that will impress your boss? Or do we mean the English that everyone will understand?

Most of the time, we mean all these things. When we go looking for grammar guidance, we’re hoping to refine our tone, our sophistication, and our clarity. We want, at the end of the day, to be better writers.

But if we mean those things, then what we should really say is “Standard English”—although it would probably be even more accurate to say, “The English That a Very Few People Agreed Upon About 600 Years Ago and That We’re Now Mostly Stuck With.”

Because when we use the phrase “proper English,” we’re playing into a whole mess of stereotypes and misconceptions about language. All it takes is a quick look at the history of Standard English to see why this might be true.

Setting the Stage: The History of English
I like to think of a standard variety of language as the lingua franca for speakers of a single language. A speaker from West Texas, for instance, might have trouble understanding a speaker from South Boston, but neither one of them has any trouble watching the national news, which is conducted in Standard English—the type of English that just about everyone will understand wherever it’s spoken.

English first flirted with written standardisation back in the ninth century, when Alfred the Great noticed that everyone’s Latin wasn’t what it used to be (is it ever?) and requested Anglo-Saxon translations of “those books that are most necessary for all men to know.”

When William the Conqueror showed up in 1066, however, he brought with him a slew of scribes and courtiers whose languages of choice were Latin and Norman French, and English was more or less exiled to the monasteries for the next few centuries.

Still, English never ceased to be a widely spoken language. So when England ultimately distanced itself from France, English was right there waiting, ready to reassert itself into official business and the written record.

It happened slowly at first, but by the time of Henry V, English had displaced French as a language of government almost entirely.

Soon the use of written English was spreading rapidly, from guild masters to merchants to churchmen, many of whom must have been wildly relieved to be able to conduct business in a version of their native language.

As English began to be used for increasingly important purposes, it became increasingly important to use a form of English that everyone could understand—and that everyone would respect.

The Rules of the Game
At first standards were largely—though not exclusively—determined by the language of the royal clerks. The rise of the printing press also played a key role in standardising language, particularly with regard to spelling. For instance, we have foreign compositors and typefaces to thank for the use of “gh” instead of “g” in certain words (such as “ghost”).

Soon enough, though, the subject of language standardisation was taken up by dictionary writers, grammarians, and even general linguistic busybodies.

The Influence of Scholars
It’s much more accurate to refer to what many think of as proper English with the term language scholars use: “Standard English.”

Many of the early English dictionaries and grammars ostensibly sought to describe prevailing usage—they were not meant to be prescriptive. But, of course, the selection of any one variety as a representative form is, in and of itself, a kind of prescription.

These early and influential dictionaries and grammars relied on a variety of criteria to determine their recommended words and rules. In his landmark, Dictionary of the English Language, Samuel Johnson—a man who famously remarked that “the chief glory of a nation arises from its authors”—leaned heavily on citations from widely respected authors, a trend that continues to this day.

Grammarians had their own guiding principles, often calling on logic (decrying double negatives and superlatives) or etymology (railing against the substitution of “nauseous” for “nauseated”).

Others rationales were more subjective. Some writers, for instance, believed that it was better to use one-syllable words whenever possible because they were closer to the language of Adam and Eve. And then there were those who felt so strongly about the linguistic virtues of Latin and Greek that they could come to believe, as John Dryden famously did, that a preposition at the end of a sentence is something to be strenuously avoided. (Read the article about ending a sentence with a preposition.)

No matter how persuasive the scholarship, the facts remain the same: the variety that would become Standard English was based on the varieties of the political, economic, and intellectual elite—not because they were necessarily better, but because they were the ones who got to decide.

The Authority of Salesmen
This is when things start to get a bit tricky.

The literary market in the 17th and 18th centuries was not so different from our own. There wasn’t much demand for linguistic observation—what readers wanted was linguistic guidance. And again and again, scholars and linguists from Johnson to Webster to Henry Higgins did their best to fill this need. Even Robert Cawdrey’s 1604 Table Alphabeticall, the earliest English dictionary, makes explicit on its title page that it has been “gathered for the benefit & helpe of Ladies, Gentlewomen, or any other unskilfull persons. Whereby they may the more easilie and better understand many hard English words.”

But as social mobility increased, the standards of the written language exerted more and more influence on the spoken language, which was looked to as a measure of refinement and “politeness.” Soon the demand for linguistic instruction outstripped the scholarly supply, and readers began to snap up handbooks and how-tos whose advice was justified not by years of study—or any study at all, for that matter—but rather by the ruthlessly efficient principle of “you should.”
Or, more accurately, “you shouldn’t.”

So it was that non-standard language became a nuisance to be dealt with (like troublesome household vermin, as in the 1878 volume Enquire Within upon Everything) or a bad habit to be frowned upon (like breathing through your mouth, as in 1888’s Don’t: A Little Book dealing Frankly with Mistakes & Improprieties more or less Common to All).

And when you teach that there is only one way to be right, it’s only natural to conclude that every other way is wrong.

The Slippery Slope
As long as we’ve had language varieties, we’ve also had stereotypes about the people who speak those varieties. But the implementation of the standard form of a language—couched as it so often is in terms of elegance, propriety, and correctness—can take an otherwise unassuming us/them split and institutionally marry it to a set of pernicious value judgments: what is “right,” what is “educated,” what is “civilized,” what is “good.”

Linguists and philosophers, and just about anyone who has ever stopped to think about it, have been doing battle with perceptions like these for centuries—just as they have been doing battle with similarly ingrained stereotypes relating to race, ethnicity, class, and gender. And they’re having about as much luck with the former as they are with the latter. Today conspicuously non-standard varieties of English—particularly those spoken in the South and by African-Americans—are still routinely characterised as “defective,” “lazy,” and flat-out “wrong.”

But the truth is this: Every variety of English is equally regularised and expressive—just as every language is equally expressive. They all have their own internal rules and grammar. Despite what the usage mavens of yesteryear might have us believe, proficiency with Standard English has nothing to do with innate linguistic superiority, or cognitive or moral superiority. Though the language we use in any given situation is surely a product of external circumstances, it is in no way a function of internal worth.

That doesn’t mean that we shouldn’t learn Standard English—quite the contrary, given the importance placed upon its usage, it would be irresponsible to suggest otherwise.

But surely there’s room for one more standardisation: That we all agree to do away with the idea that there’s a single, objectively superior form we call “proper” English. It’s much more accurate to refer to what many think of as proper English with the term language scholars use: “Standard English.”

So, guys, I hope you found this piece of script informative. I know I did.

Till we speak again...cheers!!!