William Strunk

“ To compare to is to point out or imply resemblances, between objects regarded as essentially of different order; to compare with is mainly to point out differences, between objects regarded as essentially of the same order. Thus life has been compared to a pilgrimage, to a drama, to a battle ”

“ From time to time new forms, mostly simplifications, are introduced by innovators, and either win their place or die of neglect.
The practical objection to unaccepted and over-simplified spellings is the disfavor with which they are received by the reader. They distract his attention and exhaust his patience. He reads the form though automatically, without thought of its needless complexity; he reads the abbreviation tho and mentally supplies the missing letters, at the cost of a fraction of his attention. The writer has defeated his own purpose. ”

“ By using the possessive, the writer will always be on the safe side.
In the examples above, the subject of the action is a single, unmodified term, immediately preceding the verbal noun, and the construction is as good as any that could be used. But in any sentence in which it is a mere clumsy substitute for something simpler, or in which the use of the possessive is awkward or impossible, should of course be recast.
People. The people is a political term, not to be confused with the public. From the people comes political support or opposition ”

“ The habitual use of the active voice makes for forcible writing. This is true not only in narrative principally concerned with action, but in writing of any kind. Many a tame sentence of description or exposition can be made lively and emphatic by substituting a verb in the active voice for some such perfunctory expression as there is, or could be heard.
11. Put statements in positive form.
Make definite assertions. Avoid tame, colorless, hesitating, non-committal language. Use the word not as a means of denial or in antithesis, never as a means of evasion. ”

“ The unskillful writer often violates this principle, from a mistaken belief that he should constantly vary the form of his expressions. It is true that in repeating a statement in order to emphasize it he may have need to vary its form. For illustration, see the paragraph from Stevenson quoted under Rule 9. But apart from this, he should follow the principle of parallel construction.
The left-hand version gives the impression that the writer is undecided or timid; he seems unable or afraid to choose one form of expression and hold to it. ”

“ If the connective is and, the comma should be omitted if the relation between the two statements is close or immediate.
I have heard his arguments, but am still unconvinced.
He has had several years' experience and is thoroughly competent.
5. Do not join independent clauses by a comma.
If two or more clauses, grammatically complete and not joined by a conjunction, are to form a single compound sentence, the proper mark of punctuation is a semicolon.
Stevenson's romances are entertaining; they are full of exciting adventures.
It is nearly half past five; we cannot reach town before dark. ”

“ The principle that the proper place for what is to be made most prominent is the end applies equally to the words of a sentence, to the sentences of a paragraph, and to the paragraphs of a composition. ”

“ Some of the forms here listed, as like I did, are downright bad English; others, as the split infinitive, have their defenders, but are in such general disfavor that it is at least inadvisable to use them; still others, as case, factor, feature, interesting, one of the most, are good in their place, but are constantly obtruding themselves into places where they have no right to be. ”

“ A common fault is to use as the subject of a passive construction a noun which expresses the entire action, leaving to the verb no function beyond that of completing the sentence.
Compare the sentence, “The export of gold was prohibited,” in which the predicate “was prohibited” expresses something not implied in “export.” ”

“ The last example, before correction, is indefinite as well as negative. The corrected version, consequently, is simply a guess at the writer's intention.
All three examples show the weakness inherent in the word not. Consciously or unconsciously, the reader is dissatisfied with being told only what is not; he wishes to be told what is. Hence, as a rule, it is better to express even a negative in positive form.
The antithesis of negative and positive is strong:
Not charity, but simple justice. ”

“ It is an old observation that the best writers sometimes disregard the rules of rhetoric. When they do so, however, the reader will usually find in the sentence some compensating merit, attained at the cost of the violation. ”

“ In dialogue, each speech, even if only a single word, is a paragraph by itself; that is, a new paragraph begins with each change of speaker. The application of this rule, when dialogue and narrative are combined, is best learned from examples in well-printed works of fiction.
9. As a rule, begin each paragraph with a topic sentence, end it in conformity with the beginning. ”

“ As we do not think in generals, but in particulars—as whenever any class of things is referred to, we represent it to ourselves by calling to mind individual members of it, it follows that when an abstract word is used, the hearer or reader has to choose, from his stock of images, one or more by which he may figure to himself the genus mentioned. ”

“ Folk. A collective noun, equivalent to people. Use the singular form only.
Effect. As noun, means result; as verb, means to bring about, accomplish (not to be confused with affect, which means “to influence”) .
As noun, often loosely used in perfunctory writing about fashions, music, painting, and other arts: “an Oriental effect;” “effects in pale green;” “very delicate effects;” “broad effects;” “subtle effects;” “a charming effect was produced by.” The writer who has a definite meaning to express will not take refuge in such vagueness. ”

“ If the writer finds that he has written a series of sentences of the type described, he should recast enough of them to remove the monotony, replacing them by simple sentences, by sentences of two clauses joined by a semicolon, by periodic sentences of two clauses, by sentences, loose or periodic, of three clauses—whichever best represent the real relations of the thought. ”

“ This rule refers especially to loose sentences of a particular type, those consisting of two co-ordinate clauses, the second introduced by a conjunction or relative. Although single sentences of this type may be unexceptionable (see under Rule 4) , a series soon becomes monotonous and tedious.
An unskilful writer will sometimes construct a whole paragraph of sentences of this kind, using as connectives and, but, so, and less frequently, who, which, when, where, and while, these last in non-restrictive senses (see under Rule 3) . ”

“ It is, however, correct to say, “The signers of the petition were less than a hundred,” where the round number a hundred is something like a collective noun, and less is thought of as meaning a less quantity or amount.
Like. Not to be misused for as. Like governs nouns and pronouns; before phrases and clauses the equivalent word is as.
Line, along these lines. Line in the sense of course of procedure, conduct, thought, is allowable, but has been so much overworked, particularly in the phrase along these lines, that a writer who aims at freshness or originality had better discard it entirely. ”

“ Ending with a digression, or with an unimportant detail, is particularly to be avoided.
If the paragraph forms part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed. This can sometimes be done by a mere word or phrase (again; therefore; for the same reason) in the topic sentence. Sometimes, however, it is expedient to precede the topic sentence by one or more sentences of introduction or transition. ”

“ In summarizing the action of a drama, the writer should always use the present tense. In summarizing a poem, story, or novel, he should preferably use the present, though he may use the past if he prefers. If the summary is in the present tense, antecedent action should be expressed by the perfect ”

“ Proverbial expressions and familiar phrases of literary origin require no quotation marks.
These are the times that try men's souls.
He lives far from the madding crowd.
The same is true of colloquialisms and slang.
References. In scholarly work requiring exact references, abbreviate titles that occur frequently, giving the full forms in an alphabetical list at the end. As a general practice, give the references in parenthesis or in footnotes, not in the body of the sentence. ”

“ Note that if the second clause is preceded by an adverb, such as accordingly, besides, then, therefore, or thus, and not by a conjunction, the semicolon is still required.
Two exceptions to the rule may be admitted. If the clauses are very short, and are alike in form, a comma is usually permissible:
Man proposes, God disposes. ”

“ A common inaccuracy is the use of the plural pronoun when the antecedent is a distributive expression such as each, each one, everybody, every one, many a man, which, though implying more than one person, requires the pronoun to be in the singular. ”

“ The poets of The Nation, for all their intensity of patriotic feeling, followed the English rather than the Celtic tradition, their work has a political rather than a literary value and bears little upon the development of modern Irish verse. ”

“ Similarly, it gives in Chapter III only those principles of the paragraph and the sentence which are of the widest application. The book thus covers only a small portion of the field of English style. The experience of its writer has been that once past the essentials, students profit most by individual instruction based on the problems of their own work, and that each instructor has his own body of theory, which he may prefer to that offered by any textbook. ”

“ It aims to lighten the task of instructor and student by concentrating attention (in Chapters II and III) on a few essentials, the rules of usage and principles of composition most commonly violated. In accordance with this plan it lays down three rules for the use of the comma, instead of a score or more, and one for the use of the semicolon, in the belief that these four rules provide for all the internal punctuation that is required by nineteen sentences out of twenty. ”

“ Only a few years ago after a snow storm in the passes not far north of Jerusalem no less than twenty-six Russian pilgrims perished amidst the snow. One cannot help thinking largely because they made little attempt to save themselves. ”

“ The best way to see a country, unless you are pressed for time, is to travel on foot.
This rule is difficult to apply; it is frequently hard to decide whether a single word, such as however, or a brief phrase, is or is not parenthetic. If the interruption to the flow of the sentence is but slight, the writer may safely omit the commas. But whether the interruption be slight or considerable, he must never insert one comma and omit the other. Such punctuation as ”

“ Another hackneyed word; like factor it usually adds nothing to the sentence in which it occurs.
As a verb, in the advertising sense of offer as a special attraction, to be avoided.
Fix. Colloquial in America for arrange, prepare, mend. In writing restrict it to its literary senses, fasten, make firm or immovable, etc.
Get. The colloquial have got for have should not be used in writing. The preferable form of the participle is got.
He is a man who. A common type of redundant expression ”

“ On the use of so to introduce clauses, see Rule 4.
Sort of. See under Kind of.
Split Infinitive. There is precedent from the fourteenth century downward for interposing an adverb between to and the infinitive which it governs, but the construction is in disfavor and is avoided by nearly all careful writers.
State. Not to be used as a mere substitute for say, remark. Restrict it to the sense of express fully or clearly, as, “He refused to state his objections.”
Student Body. A needless and awkward expression meaning no more than the simple word students. ”

“ Sentences of this type, isolated from their context, may seem to be in need of rewriting. As they make complete sense when the comma is reached, the second clause has the appearance of an afterthought. Further, and is the least specific of connectives. Used between independent clauses, it indicates only that a relation exists between them without defining that relation. In the example above, the relation is that of cause and result. The two sentences might be rewritten:
As the early records of the city have disappeared, the story of its first years can no longer be reconstructed. ”

“ B. Kind of poem; metrical form. C. Subject. D. Treatment of subject. E. For what chiefly remarkable. F. Wherein characteristic of the writer. G. Relationship to other works. The contents of paragraphs C and D would vary with the poem. Usually, paragraph C would indicate the actual or imagined circumstances of the poem (the situation) , if these call for explanation, and would then state the subject and outline its development. If the poem is a narrative in the third person throughout, paragraph C need contain no more than a concise summary of the action. ”

“ The people of France however were suffering from burdensome taxation oppressive social injustice and acute scarcity of food and their representatives refused to consider projects of taxation until social and economic reforms should be granted. ”