Best 12 quotes of Constance Hale on MyQuotes

A sentence can offer a moment of quiet, it can crackle with energy or it can just lie there, listless and uninteresting. What makes the difference? The verb.

I’m a sucker for this stuff. The @ is called chiocciola (snail) in Italian! The & was once taught as a letter of the alphabet! The manicule has been with us for a millennium! Thank you, Keith Houston, for bringing these little mysteries out of the shadows of typographic history.

In writing, the connection between storyteller and audience is just as important. By using some subtle devices, a narrator can reach out to the reader and say, 'We’re in this together.'

Language can still be an adventure if we remember that words can make a kind of melody. In novels, news stories, memoirs and even to-the-point memos, music is as important as meaning. In fact, music can drive home the meaning of words.

Our word choices give a sentence its luster, and they deserve intense attention.

Over the course of several articles, I will give you the tools to become a sentence connoisseur as well as a sentence artisan. Each of my lessons will give you the insight to appreciate fine sentences and the vocabulary to talk about them.

Some of the worst writing around suffers from inert verbs and the unintended use of the passive voice. Yet the passive voice remains an important arrow in the rhetorical quiver. After all, it exists for a reason.

There is no one way to render an idea. Let’s explore how masters of the sentence play with length and style to make their sentences distinctive.

Ultimately, whether we are writing posts, paragraphs, essays, arguments, memoirs, monographs or even just the Great American Tweet, writing is and should be a grand adventure.

Voice is the je ne sais quoi of spirited writing. It separates brochures and brilliance, memo and memoir, a ship's log and The Old Man and the Sea. The best writers stamp prose with their own distinctive personality; their timbre and tone are as recognizable as their voices on the phone. To cultivate voice, you must listen for the music of language-the vernacular, the syntactic tics, the cadences.

Writers dream of sentences that sail through the waters of thought. We try to control their shape and size, and we struggle to let them glide, rather than thrash at sea.

Writers today must navigate the shifting verbal currents of the post-Gutenberg era. When does jargon end and a new vernacular begin? Where's the line between neologism and hype? What's the language of the global village? How can we keep pace with technology without getting bogged down in buzzwords? Is it possible to write about machines without losing a sense of humanity and poetry?