The water had swollen imperceptibly. And lo, already showed the stones, as if some force had pushed

Is to introduce a set of 50 techniques for writing. It was very interesting to meet them and I would like to share. These are recommendations, not rules. They do not exist in the plane of "good seashell book and bad", but rather the result of "cause and effect". Have you surely many recommendations for good writing, drawn from these techniques. And probably many of you use them without realizing they are doing it. Often begin to work automatically, utilizing a skill. In all cases, these recommendations seashell book may be a useful starting point for anyone who has a serious seashell book amateur or desire to engage in writing. But let us begin. Recommendation No. 1: Observe the order of the words
Start a sentence with a subject and predicate, leaving most of it behind. Even a long sentence can be simple and clear when the subject and predicate do transparent content.
To use this technique, imagine each sentence printed seashell book on an infinitely long paper. Now imagine: reporter writes "news" in which subject seashell book and predicate are followed by all other parts. seashell book If we imagine that this is "news", it will look like this:
"Rebels seashell book took control of Cap Haitien, the second largest city in Haiti, on Sunday, unopposed; locals cheered keen is the police station were looted food supplies from the port and airport warehouse, seashell book which is urgently closed. Police and armed forces of President Jean-Bertrand Aristide have escaped by flight. "
The first sentence of the passage has 38 words, and is full of action. In fact, the sentence is so dense and congested, it is ready to explode like an overheated engine. But. Control seashell book of the situation comes to putting the front of the following seashell book three words: "Rebels took control." seashell book Think about the first part of the sentence as a locomotive that pulls all the other coaches.
Professional writers are capable of this principle to create page after page. Consider an excerpt from "Cannery Row" by John Steinbeck. This is a description of life on the sea explorer Doc:
"From Alarm Clock Doc does not need. He so long had his dealings with tides that could hear the movement of water even in his sleep. Doc woke up with the first rays of the sun, looked out the window - the tide had already begun. Sipping hot coffee, ate three sandwiches and swallowed whole liter of beer.
The water had swollen imperceptibly. And lo, already showed the stones, as if some force had pushed them to the surface; ocean retreated, leaving small puddles, wet algae, moss, mushrooms, light, brown, blue, orange. The bottom was littered with strange ocean debris: pieces of shells, claws, large and small pieces of skeletons - cemetery fantastic, right on the level at which they ate marine life. "
In every sentence Steinbeck puts the subject and predicate in the beginning or near the beginning. The clarity and power of narrative grows from sentence to sentence in the paragraph. It avoids monotony, forming long sentences.
Subject and predicate are generally divided into prose. This often happens because we want to tell readers about bedpan advance before proceeding to the verb. Doing so, even from the best motives, we risk confuse the reader:
"The bill, which excludes seashell book income tax on the estimate of the new properties of the estimates of the state education funding could mean a loss of funds for local schools."
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