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This document provides guidelines for 12 standards of good prose style, including using active voice, avoiding nominalizations, expressing parallel ideas, emphasizing important information at the end of sentences, using positive form, varying sentence patterns, selecting precise words, avoiding unnecessary modifiers, clarifying ideas, removing deadwood words, avoiding redundancy, and using metaphor. It provides examples to illustrate some of the standards and explains their importance for clear, effective writing.

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72 views4 pages

Project 1

This document provides guidelines for 12 standards of good prose style, including using active voice, avoiding nominalizations, expressing parallel ideas, emphasizing important information at the end of sentences, using positive form, varying sentence patterns, selecting precise words, avoiding unnecessary modifiers, clarifying ideas, removing deadwood words, avoiding redundancy, and using metaphor. It provides examples to illustrate some of the standards and explains their importance for clear, effective writing.

Uploaded by

api-325856972
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as DOCX, PDF, TXT or read online on Scribd
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TO: Karen L.

Thompson
FROM: Ali Alkhaldi
DATE: 2/21/2016
The Prose Style Section portrays twelve fundamental standards of good exposition style and
represents a large portion of these standards with samples. Each of the twelve standards
portrayed in the style segment above depend on one overriding rule that the quintessence of good
written work is changing. We might take care of some of these standards suddenly when we
create your first draft, however expressive contemplations turn out to be more think concerns
when you chip away at second, third, and fourth drafts. Keep in mind that great composition is
diligent work
1. Use of Active Voice
Unless we have a justifiable reason motivation to do something else, dependably pick the
dynamic, as opposed to the aloof, voice. With the dynamic voice, the specialists, the individual
or thing completing the activity communicated by the verb is the subject:
Active voice: John opened the door.
Passive voice: The door was opened by John / the door was opened.
2. Nominalizations should be avoided
Unless you have a justifiable reason motivation to do something else, stay away from
nominalizations. A nominalization is a thing got from and conveying the same significance as a
verb or descriptive word. It is generally more straightforward, energetic and common to express
activity in verbs and qualities in descriptors.
Wrong: Our expectation was that we would be rewarded for our efforts.
Correct: We expected to be rewarded for our efforts.

3. Expressing the Parallel Ideas


Parallelism is the rule that units of equivalent capacity ought to be communicated in equivalent
structure. Redundancy of the same structure permits per user to perceive parallel thoughts all the
more promptly:
Wrong: This could be a problem for both the winners and for those who lose.
Correct: This could be a problem for both the winners and the losers.
4. Emphatic Words at the End of the Sentence
At whatever point conceivable, express toward the start of a sentence thoughts effectively
expressed, alluded to, inferred, securely expected, recognizable whatever may be called old,
rehashed, generally unsurprising, less imperative, promptly open data. Express toward the end of
a sentence the minimum unsurprising, slightest available, the freshest, the most huge and striking
data.
5. Positive Form
The positive type of an announcement is by and large more compact and direct than the negative:
Wrong: Don't write in the negative.
Correct: Write in the affirmative.
6. Sentence Patterns
A progression of sentences that take after the same general example can be dreary. Stay away
from dullness by differing sentence designs. One of the most ideal approaches to stay away from
a repetitive arrangement of straightforward sentences is to utilize subordination to consolidate
the data introduced in these sentences into a solitary, complex sentence. Another approach to
keep away from a progression of basic sentences is to utilize coordination to consolidate a few of
these sentences into a solitary, compound sentence.

7. Words selection
Etymologists evaluate that the English dialect incorporates more than one million words, in this
way giving English speakers the biggest vocabulary on the planet. From this endless vocabulary,
scholars might pick the exact words to address their issues. The rundown beneath portrays a
percentage of the elements you should think about in picking, from among various equivalent
words or close equivalent words, the word or expression most fitting to your motivation. Notice
that the qualifications between these components are not generally sharp; some may legitimately
be considered subsets of others. For instance, tone, custom, and power may be considered
subsets of undertone.
a. Intention: While the exacting or unequivocal significance of a word or expression is its
meaning, the suggestive or acquainted ramifications of a word or expression is its undertone.
b. Tone: While the meaning of a word communicates something about the individual or thing you
are talking about, the tone of a word communicates something about your disposition toward the
individual or thing you are examining.
c. Level of Formality: Some lexicons demonstrate whether a word is formal, casual, revolting, or
foul; regularly, in any case, your own affectability to the dialect ought to be adequate to guide
you in settling on the fitting decision for a given connection.
d. Force: Intensity is the level of passionate substance of a wordfrom target to subjective,
mellow to solid, metaphorical to provocative.
e. Level of Abstraction: The best essayists are viable generally in light of the fact that they
bargain in particulars and report the points of interest that matter. Their words ring pictures.
f. Sound: All different things being equivalent, you might need to pick single word as opposed to
another essentially in light of the fact that you like its sound.
g. Musicality: Although mood is quantifiable, most essayists depend on their ear for dialect to
judge this part of their sentences.

h. Reiteration: Using the same word to allude to the same thing or thought is attractive when it
adds to move and rationality.
8. Avoid Modifiers
Avoid overusing adjectives and adverbs. These modifiers have their place, but in the most
vigorous prose, action is expressed in verbs, and the agents of that action are expressed in nouns.
9. Clarify Ideas
With a specific end goal to make your written work lucid and the moves between your thoughts
smooth, you should plainly express or suggest the sensible connections between your thoughts.
In the event that you neglect to do as such, one thought is just compared with another, and
peruses are left to make the coherent associations for them. You can likewise utilize accentuation
to show the legitimate connections between thoughts.
10. Deadwood
Deadwood is material that adds nothing to the importance of the sentence, words that serve just
as filler. When you alter your written work, take out any words or expressions that can be
evacuated without harming the importance of the sentence or passage.
11. Redundancy
Redundancy, the superfluous reiteration of data, is a subset of deadwood, however one that is
sufficiently vital to merit separate notice.
12. Metaphor
Metaphor might be comprehensively characterized as a creative examination, communicated or
inferred, between two for the most part not at all like things, with the end goal of representation.

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