The Little Red Writing Book: 20 Powerful Principles of Structure, Style, Readability

The Little Red Writing Book: 20 Powerful Principles of Structure, Style, Readability[Ebook] ➡ The Little Red Writing Book: 20 Powerful Principles of Structure, Style, Readability Author Brandon Royal – For Writers from All Walks of Life!

There's no need to fear the big, bad world of writing with The Little Red Writing Book in hand Brimming with clever advice, this book offers writers, stude For Writers from All Red Writing PDF/EPUB À Walks of Life!There's no need to fear the big, bad world of writing with The Little Red Writing Book in hand Brimming with clever advice, this book offers writers, students, and business professionals a concise guide to penning strong and effective work The Little ePUB × for all occasionsThe Little Red Writing Book is designed for visual appeal and ease of use Elegant yet practical, it will be an intriguing, inviting reference you'll turn to again and again Author Brandon Royal offers concise explanations and nonintimidating instruction based on the four pillars of Little Red Writing eBook ↠ sound writing: structure, style, readability, and grammar His discussion centers onimmutable writing principles as well ascommonly encountered rules of grammar A wealth of examples, charts, and engaging exercises make The Little Red Writing Book an invaluable guide for anyone who wants to master those skills that will make a good writer even better.

Is a wellknown author, Red Writing PDF/EPUB À Red Writing eBook some of his books are a fascination for readers like in the The Little Red Writing Book: Powerful Principles of Structure, Style, Readability book, this is one of the most wanted Brandon Royal author readers around the world.

The Little Red Writing Book: 20 Powerful Principles of
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  • Paperback
  • 160 pages
  • The Little Red Writing Book: 20 Powerful Principles of Structure, Style, Readability
  • Brandon Royal
  • 14 September 2017
  • 9781582975214

10 thoughts on “The Little Red Writing Book: 20 Powerful Principles of Structure, Style, Readability

  1. Laura says:

    Seems geared toward undergraduates learning to write expository papers. Nothing terribly enlightening, but some good reminders. I was fairly pleased with it until I got to Principle 11: Gain Active Power. The section begins with--and I promise I'm not making this up--the following sentence:

    In general, the active voice is preferred to the passive voice because the active voice is more action oriented.

    I wanted very much to believe this was an attempt at a joke, but the book is so serious in tone, so utterly lacking in mirthfulness, that I couldn't convince myself. How could this possibly have made it past the editor?

    I don't think I can read anymore. A pity, really, since I found the illustrations so charming.

  2. Kathrynn says:

    Excellent little book full information on structure, style, readability and grammar. Easy to read, full of examples for both correct and incorrect and a little humor.

    The section on structure pertains to writing from the top down. In other words, tell the reader what your point is FIRST, then explain. Also, how to break things down, use transition words, stick to one topic.

    The section on style covers a wide array of topics: support what you say, personalize examples, keep it simple, no long sentences, eliminate words that add nothing, active voice, favor verbs (not nouns), sentence variety, and tone.

    The section on readability is about layout and design. When to bold words or use italics, maintaining a neutral gender, and editing.

    Finally, the topic on grammar goes into the 8 parts of speech: nouns, pronouns, adjectives, verbs, adverbs, prepositions, conjunctions and interjections. There are brief, easy to understand, explanations followed by correct and incorrect examples. Common misused words like affect/effect, than/then, all together/altogether, all ready/already, maybe/may be, between/among, and more are cited with examples.

    Very easy to follow and an excellent, quick reference source.

  3. J.K. Riki says:

    Here is an example of my grievance with this book:

    In the chapter on nominalization, the reader is asked to alter the sentence The inability to make decisions is a military leader's darkest enemy.

    The recommended solution is A military leader must be able to decide.

    While this change may be a valid example of the lesson at hand, the second version is a tedious mess. What reader would prefer it? Even technical writing is made worse if the audience is bored, and this second option is frankly boring.

    Therein lies the problem with The Little Red Writing Book: It offers terrific technical advice while disregarding the CRAFT on too many occations. It's clear Mr. Royal is a very competent writer, but too often for my liking he provides dull sentences as solutions for the versions used as the inferior examples. These solutions are technically correct, but lack any soul the incorrect originals may have shown glimpses of.

    As a reference of principals and technique, this book excels, but truthfully it could have been released as only the 1st appendix found within and done just as fine a job in that regard. I found it at a used book sale for a dollar, and am glad I picked it up for reference at that price. If I'd have paid the $16.99 listed on the back ($24.99 Canadian!) I would have demanded a refund.

  4. Alexander Velasquez says:

    This book is helpful more so for academics and for the corporate world (i.e. formal audiences) than for creative writers. However, some principles of style, such as using specific and concrete words (principle 6) and favoring active sentences (principle 11), can be helpful for creative writing as well. Albeit, the section on grammar rules is indispensable for all writers. Royal has another book (viz. The Little Gold Grammar Book) that details those rules in more detail, and it may be more useful for the creative writer to read that one instead.

  5. Jessica says:

    Disclaimer: I am a writing and grammar nut, as well as an English teacher. That being said, I've read a lot of writing books that are much longer than this one and don't pack nearly the same powerful punch.

    Short and sweet, this book covers the basic principles of good writing very effectively. It is something I could easily adapt to use with my students. In fact, I plan on covering a principle a week in conjunction with our established curriculum.

  6. Jenny says:

    Concise. Cute. Almost too cute. Short, accessible chapters and good exercises to illustrate points. I disagree with some of this book's assertions about what good writing is, but overall, it's a nice little grammar and style guide.

  7. M. J. says:

    Before I was halfway through it I was thinking that the cleverest thing about The Little Red Writing Book was its title. That's sad.

    It's also unfair.

    After all, I've read a lot of books and articles and web pages whose authors could benefit greatly from some of what is in this compact collection of how to write. From stylistic construction to rules of grammar, Royal covers many areas where aspiring writers shouldn't but do have problems.

    There were a couple places where I disagreed, and there were a couple of mistakes I thought should have been caught in proofreading, but on the whole it is solid.

    I think my biggest issue is that the author misses a critical rule which ought to have been up front. It is a rule I learned in music theory but have since applied to all creative endeavors. The basic rule is that every rule exists for a reason, to prevent an outcome viewed as a problem. The importance of that rule is that if you know what the rule prevents, you know when to break it to achieve a desired effect.

    A glaring example is his assertion that when writing in support of a position you should always put your conclusion at the beginning. I understand the reason. In most situations it enables the reader to understand your arguments much more readily because they already know where you are going. The downside is that people who disagree with you are unlikely ever to read you arguments once they know that they disagree, and you wind up preachin' to the choir, because the only readers you get are those who agree with your conclusion. Thus when I wrote Confessions of a Dungeons & Dragons Addict long ago, and I wanted to capture an audience of people who had already decided that the game was an evil Satanic ritual, I opened with and maintained the notion that there were problems with the game of which Christians should be aware, so that I could draw them through all the supposed problems that actually were not problems with the game and reach the conclusion that Christians should be playing it. Were I to have begun with the conclusion, it is doubtful whether my target audience would have gotten past the first paragraph.

    Failure to explain the reason for the rules within the context of what is achieved by breaking them weakens the value of the book significantly.

    However, it does hit many of the typical mistakes writers make, and most would probably find it useful.

  8. Evan Kwong says:

    This may seem like an exception...and it is, but it represents the art of writing as opposed to the science of writing says Royal, relegating writing's experimental nature into the footnotes. Creating a pun based on a beloved fairy-tale tells the reader that this book will be educational but won't take itself so seriously. This was the wrong assumption to make. Royal is engrossed in his own pretentiousness, not teaching, but telling the reader how to write without showing any love for the craft.

    Royal declares that this book is for a wide audience, but never wants to admit that it's really for nonfiction writers, business writers, and students. Cute illustrations and the miniaturization of the physical book imply that this will be a fun read for anyone who picks it up, yet all of the content is yanked from an English textbook. Everything here is the scrapings of The Elements of Style, which is not only more informative but doesn't give migraines from tonal whiplash.

    There are important lessons; however, for writers who need a refresh. Lessons on eliminating unnecessary words, selecting the right tone for the audience, and making writing gender-neutral are all helpful, and contain information that everyone can apply. The writer who does not want to open The Elements of Style or Modern English Usage will benefit from taking a day to skim through the text.

    Though, it's strange that Royal places his principles at the forefront, and the section on grammar and punctuation just before the appendices. Grammar and punctuation are to be treated objectively, which he's conscious of. Thus, each rule shines and is met with no resistance. The 20 main principles are also discussed as if writing, even the most formal and nonfiction writing, is an objective procedure, and because of this black-and-white discussion, a pompous air suffocates the reader. Perhaps the better examples are in the back because Royal knows they are the actual best part of The Little Red Writing Book. If he placed them at the end, the reader would more likely sift through micro-lectures masquerading as facts. The best way to approach this text is with a few pages for notes and a couple of grains of salt, or maybe with an actual textbook whose author isn't pretending like it's something it's not.

  9. Sean Goh says:

    Expressing yourself well in writing CAN actually be boiled down to a few principles, some of which I have recorded for reference below. The entire book itself is concise enough to serve as one such reference.

    Strategically, the summary or conclusion should come at the start of the expository piece not at the end, so the reader is not left guessing at the writer's main idea. The reader is first told what the writing is about, before being given the supporting facts and details.

    Vague language weakens your writing because it forces the reader to guess at what you mean instead of allowing the reader to concentrate fully on your ideas and style. Choose specific, descriptive and words for more forceful writing.

    Don't just mention the whats, mention the so whats. Mentioning the examples, anecdotes and quotes provides support and indicates the reason why the writer is writing about something.

    The passive voice is appropriate when the performer of the action is unknown or unimportant.

    Favour verbs, not nouns.

    Semicolons are used instead of but, yet, or, not, or for to link two closely related sentences.

  10. Henrik Warne says:

    A short book on how to write better. The first section is on ways to structure your text - start with the conclusion, divide the content into two to four parts, use transition words. The second is on style - be specific and concrete, use examples, use short sentences, cut out unnecessary word, vary the length and beiginnings of your sentences. The third section has tips for improved readability, such as adding space, making words stand out, using headings and headlines to divide the text. The final part has 30 grammar rules, many of which explain the difference between similar words (like it's versus its).

    I liked that the book has lots of examples (both good and bad) illustrating the different techniques. It also has lots of exercises with suggested answers in the back. I really liked the advice in the first three sections, but the grammar rules were less useful.

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