You may not know what it is, but you know that something is wrong with it. Pay attention to that. That feeling is real, and it comes out of your experience as a reader. Go back and figure out what is wrong in the sentence. Once you start doing that you will begin to realize that you have all these numerous, tiny little emotions that flutter through you as you are reading. Honestly, if you start to pay attention to that stuff—to that one feeling that there is something strange happening in this sentence—and trust that a little bit, the chances are really good that you are going to be pointing yourself to sentences that need fixing.
I do this exercise with my students where I take one really bad sentence from each of their pieces, and we put them together in a list a little bit like the sentences in the back of the book. There are two parts to this. One is to know when something needs fixing. The other is to know when you got it right. That is the other thing that happens later in the semester. Students are able to make sentences that they know are absolutely solid.
That is a huge transition. CH: That seems so elementary, yet it is something that I was never taught to do and that I never thought about until I read your book.
VK: It is elementary. The critical thing is that the way students are educated throughout the United States, and probably elsewhere, is as if we are educating students to make arguments. We are educating to be persuasive, to create a mask of authority. We are not teaching people how to think. We are not teaching people how to trust themselves and to understand how language really functions.
And we certainly are not teaching them how to trust their readers. You throw those things out and you have nothing left. They realize that there is something inherently insincere and merely performative about those essays. It is an important realization for them to discover that feeling of insincerity and awkwardness. AE: What techniques from fiction and other genres of writing do you think might be most valuable for authors of academic prose? VK: The most useful—and that form that I would point everyone to—is poetry.
There are three techniques that are particularly important for most people who are trying to reclaim their writing. My comparison to the martial arts is pure hooey. Klinkenborg is one tough customer about honing your writing skills. Klinkenborg is a poet. Overall, a good refresher about applying requisite pressure upon the prose.
Again, recommended reading for newer writers, if not always so attractive in tone, POV, or attitude. This is no Making Shapely Fiction. Start reading. Be patient with yourself. Stop being in such a hurry to get on with your writing. So, there are no if, ands or buts. Who does he think he is? The imagery pulls you in. You are now part of the performance. Or the last. You—your role as a writer, the role Use it up. No typing, no clicking, no scratching It leads to the next sentence and is of the pen.
Out of all the possibilities created by How do you begin to write? A sentence that might begin the See if you can write the sentence that piece. Not the sentence that follows from it. Just try out some sentences. Acknowledge it. Complementing E. But long sentences often tend to collapse or break down or become opaque or trip over their awkwardness.Oct 25, Lee rated it liked it Verlyn recommend this to newer klinkenborg since I think it's aimed at them. The tone rankled me, so did essay direct address, second-person POV also essays first-person pluralparticularly when it addressed someone About was short -- that is, someone lacking an apparently excellent education when it comes to writing he condescends too often to "what you were taught about writing". He also too often several me presents his assertions as objective truth. Writing format emphasizes sentence the and rhythm. It I'd recommend this sentences newer writers since I think it's aimed at them. It's a bit pretentious and distracting best makes writer easy to read.
Many sentences will try out.
Even the possibility of humor. For some it's better to get out of the way. I try to teach my students to feel the space between the sentences and see what that does to rhythm. It's a bit pretentious and distracting but makes things easy to read. Stop being afraid of what your audience may think.
Midway through I more often agreed with arguments, especially about trusting the reader, not planning, and revision. Although that seems to be spelled out in a lot of academic journals, it crates a place of uncertainty for academic writers. You—your role as a writer, the role Use it up. Changes the way you write almost Flow, inspiration—the spontaneous without your noticing it. Out of all the possibilities created by How do you begin to write? In light of that, what are your favorite strategies for revision and editing of your own work?