The Art of Writing English A Book for College Classes
By Rollo Walter Brown, Nathaniel Waring Barnes, 1913
PART ONE
CHAPTER I — INTRODUCTION
I. The held of composition
A. Composition a kind of communication
B. The necessity of mastering composition
II. Current objections to training in composition .
A. Impossible : Writing is wholly a gift .
B. Unnecessary : Skill is gained incidentally .
C. Injurious : Destroys spontaneity ....
D. Uninteresting : A dull grind without practical compensation
III.
The VALUE of training .
A. Cultivation of the mind
1. Cultivation by sharpening observation
2. Cultivation by clarifying and stimulating thought
3. Cultivation by quickening the imagination .
B. Mastery of the means of expression ....
C. Deepening of insight into literature ....
IV. The necessary attitude toward training
A. Love for one's art . . . . ,
B. P&tience in labor
C. Open-minded consideration of possible aids
V. Composition an art .
A. The nature of art .
B. Composition as an art .
C. The conception essential
CHAPTER I — INTRODUCTION
I. The held of composition
A. Composition a kind of communication
B. The necessity of mastering composition
II. Current objections to training in composition .
A. Impossible : Writing is wholly a gift .
B. Unnecessary : Skill is gained incidentally .
C. Injurious : Destroys spontaneity ....
D. Uninteresting : A dull grind without practical compensation
III.
The VALUE of training .
A. Cultivation of the mind
1. Cultivation by sharpening observation
2. Cultivation by clarifying and stimulating thought
3. Cultivation by quickening the imagination .
B. Mastery of the means of expression ....
C. Deepening of insight into literature ....
IV. The necessary attitude toward training
A. Love for one's art . . . . ,
B. P&tience in labor
C. Open-minded consideration of possible aids
V. Composition an art .
A. The nature of art .
B. Composition as an art .
C. The conception essential
CHAPTER II — THE WRITER'S MATERIAL
I. The importance of good material 46
II. The character of good material 46
A. Truth 47
1. In instrumental writing 47
2. In aesthetic writing 49
B. Interest 51
1. In instrumental writing 53
2. In aesthetic writing 54
C. Adaptability 55
1. In instrumental writing 55
2. In aesthetic writing 56
III. Getting material for instrumental composition ... 58
A. Finding the germ idea 59
B. Developing the material 62
1. From personal sources 62
2. From printed sources 62
3. From field work 67
IV. Getting material for iESTHETic composition . . . . 68
A. The eye for copy 70
B. Developing ideas 73
V. Caring for material 76
CHAPTER HI — THE WRITER'S MEDIUM
I. The character of a good working vocabulary
II. The need of improving the vocabulary
III. Aims in improving the vocabulary
IV. Means of improving the vocabulary
A. Systematic study .....
1. The perusal of the dictionary
2. The translation of foreign languages
3. The study of Old and Middle English texts
4. The study of standard writers and speakers
B. Practice
1. The characterization of familiar objects
2. The defining of familiar terms
3. Adapting the same subject-matter to different audiences .
4. The deliberate use of newly found words • • 95
5. Other kinds of practice 95
V. The writer's use of words 96
A. The exclusion of words not sanctioned by good judgment 97
1. Words not understood or misunderstood • • • 97
2. Words likely to make an unfarorable impression . 100
B. The selection of words 105
1. Kinds of words : A false basis of choice . . . 105
2. Principles of choice 107
a. Precision 107
b. Economy 108
c. Appropriateness no
d. Carrying power . . . . . . •US
CHAPTER IV — THE PRINCIPLES OF
COMPOSITION
I. Unity 120
A. Unity applied to the whole composition . . . . 1 20
1. Unity of substance 120
2. Unity of purpose 120
3. Unity of tone 121
B. Unity applied to the paragraph 123
C. Unity applied to the sentence 126
II. Coherence 128
A. Coherence applied to the whole composition . . .129
1. Coherence through sequence 129
2. Coherence through skillful transitions . . .130
B. Coherence applied to the paragraph 132
1. Coherence through sentence order . . . .132
2. Coherence through conjunctional words and phrases . 133
3. Coherence through reference words and repetition . 134
4. Coherence through parallel constructions . . • 135
C. Coherence applied to the sentence 136
1. Coherence through word order 136
2. Coherence through conjunctions 136
3. Coherence through reference words . • 37
4. Coherence through the matching of grammatical parts 138
5. Coherence through the avoidance of undue ellipsis . 138
6. Coherence through punctuation 139
III. Emphasis • ... 140
A. Emphasis in the whole composition 140
1. Emphasis by proportion 140
2. Emphasis by paragraph position 141
B. Emphasis in the paragraph 14a
1. Emphasis by proportion and sentence position . . 142
2. G)ncentration or emphasis by emotional stress . • 143
C Emphasis in the sentence 144
1. Emphasis by proportion 145
2. Emphasis by word position 145
IV. Variety 148
A. Variety in the whole composition 149
1. Variety in approach 149
2. Variety in paragraph structure 150
3. Variety in transitions 150
B. Variety within the paragraph 151
1. Variety of sentence length 151
2. Variety of sentence form 151
C Variety within the sentence 153
D. False variety 154
V. The Interdependence of the principles . . . .154
CHAPTER V — THE PROCESSES OF COMPOSING
I. Limitation of the subject-matter 160
II. The development of the subject within the limits fixed 162
III. The Plan 163
A. The need of a plan 165
B. The making of the plan 166
1. The running outline 166
2. The expository plan 166
3. The summary plan 167
C. The plan as a test 168
IV. The act of writing 169
A. The time to write 170
B. The place to write 172
C. The proper attitude toward the principles of composition . 173
D. The function of the plan 175
E The utilization of notes . . . . ' . . .176
F. The writer's regard for his audience 177
V. Revision 178
A. Reasons for revision 178
B. Self-criticism in revision . . «
A. Emphasis in the whole composition 140
1. Emphasis by proportion 140
2. Emphasis by paragraph position 141
B. Emphasis in the paragraph 14a
1. Emphasis by proportion and sentence position . . 142
2. G)ncentration or emphasis by emotional stress . • 143
C Emphasis in the sentence 144
1. Emphasis by proportion 145
2. Emphasis by word position 145
IV. Variety 148
A. Variety in the whole composition 149
1. Variety in approach 149
2. Variety in paragraph structure 150
3. Variety in transitions 150
B. Variety within the paragraph 151
1. Variety of sentence length 151
2. Variety of sentence form 151
C Variety within the sentence 153
D. False variety 154
V. The Interdependence of the principles . . . .154
CHAPTER V — THE PROCESSES OF COMPOSING
I. Limitation of the subject-matter 160
II. The development of the subject within the limits fixed 162
III. The Plan 163
A. The need of a plan 165
B. The making of the plan 166
1. The running outline 166
2. The expository plan 166
3. The summary plan 167
C. The plan as a test 168
IV. The act of writing 169
A. The time to write 170
B. The place to write 172
C. The proper attitude toward the principles of composition . 173
D. The function of the plan 175
E The utilization of notes . . . . ' . . .176
F. The writer's regard for his audience 177
V. Revision 178
A. Reasons for revision 178
B. Self-criticism in revision . . «
.180
1. Essentials of self-criticism 180
2. Aids to self-criticism 182
C Changes to be attempted in revision 184
D. Dangers in revision 185
VI. Variations in the processes of composing . . . .186
CHAPTER VI — EFFECTIVENESS IN
COMPOSITION
I. The writer and the material 196
A. Full knowledge of the subject 197
B. Gear thinking 198
C. Imaginative quickening 202
II. The writer and the reader 203
A. The attitude of the writer 204
1. Devotion to clearness 204
2. Sincerity 205
3. Earnestness 207
4. Reserve power and self-control 207
B. Methods of presentation 208
1. Arranging the material 208
2. Phrasing the material 210
III. The writer and good form 213
A. The aesthetic fitness of the writer 214
1. Sense of beauty 214
2. Poise of literary good breeding 215
3. Respect for audience 216
B. Satisfying the demands of good form 217
1. Arrangement of material for sjnnmetry . .217
2. Perfecting of sentences 217
3. Choice of words 219
IV. Effectivbnbss in DKscRipnoN 321
A. Effective instrumental description 322
B. Effective aesthetic description 324
CHAPTER X — NARRATION
I. The Field of narration 332
A. The nature of narration 332
B. The relation of narration to other forms of composition . 332
C. The universal interest in narration 333
D. Classifications of narration 333
II. The elements of narration 334
A. Action 336
1. Mastery of the narrative material .... 338
2. Selection of events 343
3. Treatment of events 346
4. Handling of conversation 348
B. Character portrayal 350
1. The relation of character and action .... 350
2. The difference between character development and
character portrayal 351
3. Direct characterization 351
4. Indirect characterization 35 1
5. The twofold problem in character portrayal . 358
C. Setting 359
1. The function of the setting 359
2. The handling of the setting 361
III. Effectiveness in narration 362
A. Effectiveness in instrumental narration .... 363
B. Effectiveness in aesthetic or fictional narration . . 364
1. Essentials of self-criticism 180
2. Aids to self-criticism 182
C Changes to be attempted in revision 184
D. Dangers in revision 185
VI. Variations in the processes of composing . . . .186
CHAPTER VI — EFFECTIVENESS IN
COMPOSITION
I. The writer and the material 196
A. Full knowledge of the subject 197
B. Gear thinking 198
C. Imaginative quickening 202
II. The writer and the reader 203
A. The attitude of the writer 204
1. Devotion to clearness 204
2. Sincerity 205
3. Earnestness 207
4. Reserve power and self-control 207
B. Methods of presentation 208
1. Arranging the material 208
2. Phrasing the material 210
III. The writer and good form 213
A. The aesthetic fitness of the writer 214
1. Sense of beauty 214
2. Poise of literary good breeding 215
3. Respect for audience 216
B. Satisfying the demands of good form 217
1. Arrangement of material for sjnnmetry . .217
2. Perfecting of sentences 217
3. Choice of words 219
IV. Effectivbnbss in DKscRipnoN 321
A. Effective instrumental description 322
B. Effective aesthetic description 324
CHAPTER X — NARRATION
I. The Field of narration 332
A. The nature of narration 332
B. The relation of narration to other forms of composition . 332
C. The universal interest in narration 333
D. Classifications of narration 333
II. The elements of narration 334
A. Action 336
1. Mastery of the narrative material .... 338
2. Selection of events 343
3. Treatment of events 346
4. Handling of conversation 348
B. Character portrayal 350
1. The relation of character and action .... 350
2. The difference between character development and
character portrayal 351
3. Direct characterization 351
4. Indirect characterization 35 1
5. The twofold problem in character portrayal . 358
C. Setting 359
1. The function of the setting 359
2. The handling of the setting 361
III. Effectiveness in narration 362
A. Effectiveness in instrumental narration .... 363
B. Effectiveness in aesthetic or fictional narration . . 364
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