A new Guide to better WritingNew guide to better writing
A classic guide to better writing: Techniques and exercises in steps.... - Rudolf Flesch
Abraham H. Lass, 1907 - 2001 Abraham Lass was borne on September 16, 1907 in Brooklyn New York as the son of Russian-Jewish migrants. In 1913, when he went to primary education, he was only speaking Jiddish, but he could speak a lot of English from the street. At Brooklyn, he went to the Manual Training College, and at the tender ages of sixteen he began to play the pianoforte at the Eagle Theatre in Borough Park.
For four years he worked at the theatre every week-end, a profession that paid him to go to school. He completed his studies at CBS in 1929 with a bachelor's and then at Columbia Teachers in CBS in 1931 with a master's. He received his master's in economics. Between 1931 and 1950 Lass lectured at many different grammar school in the town.
In 1950 he was appointed director of New Utrecht High School in Brooklyn and five years later was appointed to the same post at Abraham Lincoln High School in Brighton Beach. Writing and publishing more than two tens of textbooks, including "The Way to Write" with Rudolph Flesch in 1947, "How to prepare for College" in 1962 and "The College Student's Handbook" with Eugene Wilson in 1965.
Let also penned a New York Post for many years, as well as a Herald Tribune Syndication article. After sixteen years as director of Abraham Lincoln High, Lass withdrew in 1971.
A classic guide to better writing: Gradual techniques and tutorials for simple, clear and correct writing by Rudolf Flesch, Paperback
But the problem with typing begins at the very beginning. There, with a piece of empty piece of cardboard in your hands, you don't know how to do it. You may have some idea you want to put down, some words and phrases you want to use, but what you have in mind is just not prepared to be put on the record.
In a way, you have to move from a hazy thing in your mind to something you can record and record; and you don't know how. This kind of anger is usual with folks who haven't written much - it doesn't make any difference whether they're 15 or 50. You' ll have the penchant to type.
Word and sentence will come to you by itself. You will probably have to teach yourself to type little by little, as most humans do. And like most humans, you will find the first move the most difficult. Now, how do you begin to type? Don't just go there! Don't think that the most important thing is to get started, and once you have something on the record, you will make good progress.
When you do that and put down words and phrases that come to your minds at the present point, you have just shifted the period of your look down on your papers and you don't know how to proceed. Well, don't just go first. You take your sabbatical. Work out what you will say in your head gradually.
So in other words, make a scheme. Like everything you do, a bit of script has to be designed. Choose when you want to begin and when you want to be back; choose where you want to stay Saturday and what you want to do on Sunday mornings; get a card and find out which itinerary to take; find a place for luncheon and another for supper; and work out another itinerary to return on Sunday afternoons and evenings.
After you' re done, you'll have a plan: They know where to begin, where to go first, second and third and where to end. Lettering works in the same way. What you need to do is to anticipate how you are going to make the word-trip. And, since you are making plans for something made of words, make sure that your plans are in words, not just fuzzy, blurred ideas in your head that you will have difficulty coming to them.
It is very simple to believe that words and phrases are in your head when you only have a series of informal or semiform notions. If you want to tell a buddy how to get to your home, for example, you might think you know the way so well that the words you need are right at hand.
However, when it comes to tell your boyfriend, you may remember that you call the stop "the one in front of the good bakery" and the area where you call yourself "the one with the empty building all last year". "So you have to begin again to plan your statement in words and phrases that make good business for your mate.
Just note down your schedule. Place the beginning, the most important intermediate stopovers and the end on hard copy. This is the only way you can be sure you have a blueprint. Then with your drawing in your hands, you can compose your play gradually and without the risk of getting lost.
We' ve been working out a schedule for a long while before we began writing. Let's go back to the boyfriend who doesn't know how to get to your home. You' re going to take a seat to send him or her a message. Take a sheet of hard copy and lay down your plans before you begin your correspondence.
They think of the beginning, the most important points on the way and the end. So, you are writing something like this: Leave the Pine St. Turn right into Chestnut St. This is a good, convenient area. It wouldn't do your boyfriend much good, I would. While you' re at it, you can give instructions that your boyfriend can use - like this:
You' see how simple it is to find out when you have a good idea. Everyone knows that some folks are good and some are awkward at talking comedy. When you are good at recounting a gag, it is because you always know exactly how you will tell it beforehand.
Before you tell the gag, if all this is not clear to you, you better not try to tell it. What would you say about that one? If you think about it for a moment, however, you will see that the humour is that the Dad says that he "didn't think much of it" and the boy's answer: "I don't think much of it either.
" So, you have to be planning on going like this: "In other words, without a map you can't say or spell anything. We' re not saying that the parts of your schedule must always be in the same order. Usually it is best to begin at the beginning, go to the center and end with the end.
Here, for example, you will find a description of the route for a holidaymaker starting at the end: Let's say not much happend on Saturday, but you had a great quality of life at a Sunday evening celebration. If you tell a gag, you still have a little room for manoeuvre in the way you tell it, as long as you follow a scheme that doesn't corrupt the game.
You could tell the little tale of father and junior (although we think the first way was better): A classic guide to better writing: Techniques and tutorials for simple, clear and correct writing steps by one.