Strictly English: The Correct Way to Write . . . And Why It Matters Review

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Strictly English: The Correct Way to Write . . . And Why It Matters ReviewSimon Heffer has written a book that everyone who speaks and writes English ought to read, if not to improve his facility with the language, to enjoy the wit and charm of the book. This is an instruction book that does not read like one. He first tells us what the rules are, and then explains the purpose of those rules as well as the right and wrong ways of applying them. For example, he wrote: "Punctuation is not merely for the ease of reading, but also for the ease of comprehension and the avoidance of ambiguity. If used correctly, it shows the reader how clauses in a sentence relate to each other; how sentences are delineated; and how an argument or exposition is broken up into paragraphs." (p.31) and that grammar "is a question of logic, and if regarded as such it will, all but the most resolutely illogical minds, become second nature in anyone's use of English. Grammar is designed to keep our language comprehensible and free from ambiguity." (p.45)
He has a chapter on the use of the wrong word (in which he points out the result of dishonesty in the use of the wrong word) and another on the wrong tone. The highlight of the book may be his chapter on "The Essence of Good Style", but I enjoyed the two chapters that that was wittily placed between - "Three Sinners" (state officials, academics, and lawyers and their verbose and obscure style of writing) and "Three Saints (George Orwell, Barbara Pym, and Enoch Powell). Every one of the 309 pages in this book is a joy to read.Strictly English: The Correct Way to Write . . . And Why It Matters OverviewSimon Heffer's incisive and amusingly despairing emails to colleagues at the Telegraph about grammatical mistakes and stylistic slips have attracted a growing band of ardent fans over recent years. Now, he makes an impassioned case for correct English and offers practical advice on how to avoid the solecisms and mangled sentences that increasingly pepper everyday speech and writing. If you have ever been guilty of writing "different than," if you have ever tortured the language by saying "Thank you for asking my friend and I," if you have ever confused "imply" and "infer," then this book will prove essential reading. It will also reassuringly show you that accuracy and clarity need not be the preserve of an elite-they are within the grasp of anyone who is prepared to take the time to master a few simple rules.

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The Psychology of Creative Writing Review

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The Psychology of Creative Writing ReviewFirst, this book isn't really for the average reader -- it's definitely an academic book, with emphasis on not just literature reviews but original studies performed by the authors of various chapters. For the academic reader, however, the book covers ground you're going to have trouble finding journal articles on in PsycINFO. I nearly gave the book five stars for covering ground so rarely covered, but while some chapters are five-star material, the book as a whole isn't strong enough to warrant such a high rating.
I'm thrilled with things like the breakdown of different types of blocked writers (perhaps it's not the block that's the problem, but the writer who has issues), the exploration of great manuscripts as collaborative projects (read: projects to which crit partners have contributed ideas and even prose), and the variety of theories on the creative process. Having read Susan Perry's book Writing in Flow: Keys to Enhanced Creativity, I liked that there is a chapter from her that compresses the findings of that book into a briefer space.
Other chapters are weaker -- I had trouble with the chapter that suggested that physiognomy is valid; and despite my appreciation for evolutionary psychology, the chapter arguing that creative writing may be an adaptive process was weak. I also got a bit of a chuckle at the irony of a chapter that states that phrases like "plodding sluggishly" and "sauntering languidly" are good, evocative terms for writers to use when in fact they're weak writing (use strong verbs! avoid adverbs!). Even those with some expertise on writers may not be masters of the art themselves, it seems.
For those who are interested in digging into the research behind creative writing and creative writers, this is a worthwhile read -- especially for those who have already exhausted/are already familiar with the famous creativity research of authors like Kay Redfield Jamison (Touched with Fire: Manic-Depressive Illness and the Artistic Temperament), Nancy Andreason (The Creative Brain: The Science of Genius), and Mihalyi Csikszentmihalyi (multiple books on the topic of Flow) and want to go farther.The Psychology of Creative Writing OverviewThe Psychology of Creative Writing takes a scholarly, psychological look at multiple aspects of creative writing, including the creative writer as a person, the text itself, the creative process, the writer's development, the link between creative writing and mental illness, the personality traits of comedy and screen writers, and how to teach creative writing. This book will appeal to psychologists interested in creativity, writers who want to understand more about the magic behind their talents, and educated laypeople who enjoy reading, writing, or both. From scholars to bloggers to artists, The Psychology of Creative Writing has something for everyone.

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