The author's style doesn't really appeal to me. I feel like she's trying too hard. However, I like the examples from well-known authors, particularly of them editing and improving their work.

I thought it was a bit of a cheap shot using song lyrics from Everclear to illustrate a point. Writing song lyrics is not the same as writing prose.

As a translator, I am annoyed that Constance Hale gives Gabriel García Márquez the credit for writing wonderful sentences in English. He didn't write them, the translator did!

I haven’t made the most of this book because I haven't done the suggested exercises.

This would be a useful reference book for writers of all sorts. ( )

Beware: if you're already anal retentive about word choice, grammar, style, and syntax, this book might be information overload. But, if you're a go-with-the-flow type that can take or leave writing advice, then this will make a pretty good guide on the subject of crafting sentences. ( )

This small book packs in a lot of information in a spirited and intelligent way. Starting “New Principles of Prose” - which are: Relish Every Word. Be Simple, But Go Deep. Take Risks. Seek Beauty. Find The Right Word. She then divides it into three parts: Words, Sentences and Music. Each chapter has four subheadings, Bones, Flesh, Cardinal Sins, and Carnal Pleasures.

This book is a good introduction or refresher for using correct grammar, a word which I think frightens some people, including me, myself and I(?)! Stylistically, it is modern and clever rather than old and stuffy.

But this is a grammar book, you already know what it’s going to explain... the parts of speech, their proper usage, and structure and Hale does so in a manner that uses reference that are topical and sometimes comical and it keeps the information from feeling stale and dated. As in this example for an ‘obscure pronominal reference’ from a church bulletin, “The ladies of the church have cast off clothing of every kind, and they can be seen in the church basement Friday afternoon.” Hahaha!

Hale’s layout is logical and consistent. Using Chapter 8-Interjection as an example:

The Bones (grammar sermonette) are explanations of the chapter subject. She describes interjections as “The banging windows and bursting pipes that add excitement to the story inside.”

The Flesh (lesson on writing), “Since speech tics reveal as much individuality as proper syntax, interjections can help impart character.”

Cardinal Sin (true transgressions) “In speech, like as an interjection buys you a little time when your mind can’t keep up with your mouth. But in prose it has the effect of whittling your words down to whimpering, simpering sissyspeak.”


I appreciate writers who can inform and amuse at the same time. Though the threats of death were a bit extreme. “We do not say I’s, you’s, he’s, or she’s to indicate possession, so why would we say who’s or it’s?” “Who’s and it’s are contractions of who is and it is. Learn this or die.” —Okay, okay!

An entertaining book that will help you review the parts of speech. It also helps tease out what makes writing good and what makes it clunky by looking at such intangibles as lyricism, voice, and melody of writing. A good read for writers, editors, and anyone who likes language. ( )

Clear, beautifully written, and entertaining to boot. I now use it as my primary reference for syntax, grammar, and style. Highly recommended. ( )