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Modern Writing and Traditional Ancient Writing

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❶Which kind of drives on the edge as I don't know if I'm doing it right. Oxford University Press Inc.

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It takes a skilled rhetorician to study those facts and bring them together into an artistic proof , into a paragraph of writing that can deal with those raw data and make them interesting, persuasive, and useful to others. In a very real way, Aristotle is completely correct. Your sources, your data, your documentation does not speak for itself. You need to place the data you quote to support your thesis statement into the setting it came from context in order for it to have any meaning.

You need to explain that data to your readers. It is your arguments interpreting these data that are the substance of rhetoric: Any fool can collect the data, not everyone can interpret it. Modern writing respects that. Taking raw data, putting it in context, and interpreting that data is what research paper writing is all about. Moderns do it; ancients did it, so far, so good.

There is an overload of information in the modern electronic world. Many research papers are summary papers that attempts to synthesize vast bodies of data into one conclusion. Modern writing is more data oriented. The closer you can get to the source, letting the source speak for itself, rather than analyzing the source, the more seemingly persuasive your arguments are. I realize this is a broad statement, and not all may agree with it.

Quoting authorities who quote other authorities…references, quotations to authorities is hugely persuasive in modern writing where the ancients would have been less persuaded by statistics and more persuaded by cogent logical arguments.

This is a huge topic, and I will follow up on this with more detail, concurrently with editing our last two books hand book on rhetoric and writing research papers — CW Demosthenes. Looking inland I saw an empty beach dimly lit by a full moon, and beyond, the windows and store fronts of distant tall buildings. The faint murmur of mechanized civilization slipped out on a slight warm breeze. Joined Jan 22, Messages 4, I take the point, although I would substitute "popular" and "literary" for "American" and "British".

To my mind the problem is with percieved genre rather than location. As far as so-called, as I find the term patronising literary fiction is concerned, there seems to be a trend among a few authors towards denser sentences, purple prose and semi-poetry for the sake of it, which at best often doesn't help the story and at worst is simply pretentious.

I suspect there are a few writers who regard telling the story and getting the reader emotionally involved as nothing more than crass populism. On the other end of the scale I have read popular novels that contained literally no similies or metaphors whatsoever, incorrect grammar and many other signs of bad, simplistic writing.

I recently read a British crime novel that went much like this: Dan's smug face made him mad. Smashing Dan's face would make his day. He said 'Oi, Dan, I'm going to smash Spot has a ball, see Spot run. What both of these approaches miss is that readers' aren't stupid: Chandler and Lovecraft started off as pulp authors, after all, and neither of them is exactly lightweight. In the '30s, Gollancz was putting out serious political writing aimed specifically at the man in the street.

A critic called B. Myers raised this issue in a recent essay called A Reader's Manifesto, and while I don't agree with all his points, his main argument is worth thinking about.

It's certainly worth a look. Joined Aug 21, Messages 6, I find this very intriguing as here we have tried to make people write short sentences in the action sequences and vary their sentences in the description.

But what is interesting is that some of the modern British people have forgotten to use colons in their work. This becomes annoying when you read the prose aloud and the sentence is very, very long. Another thing that I noticed is that sometimes modern writers introduce characters and make them to do things that really doesn't make any sense in the intelligent readers mind.

There's no reason for their actions, and the poor reader cannot under why the characters are doing what they are doing. Dozmonic Well-Known Member Nov 19, Joined Jul 15, Messages Each chapter is, at most, pages long.

This is a book with a large typeface. There are around chapters in the book. I tried for half an hour to read it before completely giving up, and thought I would check him out online to see if it was his first book or something.

It wasn't, and it seems he sells pretty well. I can't understand that ;- Someone like Conn Iggulden seems to have a much better balance of sentence length. I read Lords of the Bow in two sittings, having fallen asleep partway through the first. It has been a while since a book has kept me that entertained. Joined Apr 10, Messages 1, I suspect our old enemy fashion lies at the root of it.

British fiction and I'm talking in terms of the British Isles here, before anyone jumps on the upcoming Joyce example as being from the pen of an author who isn't British has always had a tendency to the verbose. As people have commented, Joyce liked his long sentences - a work colleague of mine once said to me "I tried reading Joyce, but couldn't get past the first sentence. Unfortunately, the first sentence didn't end until half way through page The Radio 4 book of the week is usually about either someone's difficult relationship with their father or about grinding poverty in the Lancashire mill towns.

We aren't good at action heroes in our novels, which is a shame, because our oral tradition simply bristles with the sort of people who would show your average tough-talking, wise-cracking literary Noo Yoik cops to be the half-baked, dangling chumps that they truly are.

That said, I like our current drift towards dialogue-heavy novels. At least it allows for character development beyond the main protagonist, who is all too often a worthy but rather dull and delicate little flower, keenly aware of the injustice of the world, but too hopeless to do anthing about it I blame Tess of the D'Urbervilles. I believe that we can learn a lot from the rather refreshing, punchy style adopted by some North American authors, but I agree that some take it too far, presumably as a means of showing just how tough and gritty their main character and their bleak world is - it appears that there is no place for adjectival swan songs when you're staring at a dead hooker on the streets of south central LA!

But as a general rule, I'd say that an aspiring author would do well to keep it punchy and short during the action sequences, but give the reader more depth be that via dialogue, introspection, description or a mix of all three the rest of the time, so at least we care about what happens during those action sequences.

If I remember rightly, Stephen King said in Danse Macabre that when British writing goes wrong, it becomes a droning sound. On the other hand, has anyone tried to read some of the most recent James Ellroy? It's so terse and abbreviated that it reads like someone making fun of James Ellroy. CTG's point about characters not acting credibly is an interesting one.

I think this comes from the writer thinking about the book as "art" rather than a realistic, functional story. Toby, JJ told me to read this guy because "he's the most fluent writer" JJ has seen in twenty years and top of everything that book received Arthur C. Still there are scenes where the protagonist got stabbed and he goes to buy clothes in next turn from a very fancy shop. Perfect for our small office area and Perfect for our small office area and great quality.

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Modern writing is defined by what it’s not whereas remaining undefined. It’s not modernist writing, it’s not post-modernist writing.. it’s “NU”-writing. Some argue in favour of this concept of post-postmodernism or metamodernism, but leave it to the postmodernists to go about defining writing with an ‘anything goes’ attitude.

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Nov 21,  · Messages: 3, There are two trends that are becoming alarmingly noticeable in modern writing and broadly they can be divided between English and American styles. The overall result is much the same, the books are a lot duller. Typically modern US writers, use short sentences and paragraphs. bonVIVO Writing Desk Massimo, Contemporary Desk Combining Glass and Wood, Modern Desk with Bamboo Legs and White Glazed Shelf, Usable As Computer Desk, Office Desk, Secretary Desk Or Vanity Desk.

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