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a blend of grammar, diction, and sound qualities of your language |
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a writer's choice of words, suited to the topic and writing situation, considering the denotative and connotative meaning of words |
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| patterns of sentence structure and diction and rhythm and emphasis that readers hear as they subvocalize writing |
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the nature of your topic and the relation between you and your readers |
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going through the mental processes of generating speech but not actually uttering sounds |
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divide sentences into segments readers subvocalize separately, the words between pauses;
break up information into chunks that are easy to process |
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the force and clarity with which you pronounce the accented syllables of certain words;
break up information into chunks that are easy to process |
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verbs constructed with some for of "to be" which rearrange sentences so that the subject is the receiver, not the doer, of the action. ie:
Her life was cut short. |
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abstract often disembodied subjects that replace the real actors in many a vague sentence |
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words borrowed directly or indirectly from Latin that retain their bookish savor |
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specialized vocabulary of a profession or interest group |
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a group of related words containing a subject and predicate |
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can stand alone as complete sentences |
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cannot stand alone, either adjectival, adverbial or nominal (nouns) ie:
That was the day that Tyrone smelled gas. ADJ
When Tyrone smelled gas, he relit the pilot light. ADV
She said that Tyrone smelled gas. NOM |
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the grammatical makeup of a sentence |
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| keep this between 1.4 and 2.0 syllables per word, higher ration technical, lower ratio punchy |
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| vague, high-flown language that obscures meaning |
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| substituting a mild-sounding expression for a more direct one |
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| items of equivalent function and importance appearing in the same type of grammatical constructions |
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the objective, dictionary meaning of words |
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the emotional charge that attached to some words |
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too informal for most public writing situations, includes abbreviations, slang words, and popular phrases |
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| the language of most good writing. |
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| the meaning that doesnt change when you change the words |
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| system of rules for constructing sentences that people recognize as english |
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| makes a comment about the subject |
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| authors attitude toward the subject |
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| absence of "like" or "as", compare things |
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| language involving comparison that isn't literally true but provokes the imagination of the reader |
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| giving human qualities to something |
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| speaking to someone who isn't there |
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| naming one thing when you really mean something else associated with it |
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| using a part to describe a whole |
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| two things that cant be true simultaneously |
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| the subject w/o modifiers |
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