Building great sentences depends on more than just stringing words together. This lecture explores the definition of a sentence and introduces several assumptions on which the course rests, such as that a greater control of syntax is one of the most direct routes to improving writing.
Examine some of the key terminology used throughout the course and focus on learning how sentences work (their rhetoric) instead of merely labeling their constituent parts (their grammar).
A sentence may contain more propositions than are visible in the grammar and syntax of its surface language. Discover how the facts, ideas, and feelings in a sentence lie beneath its words and organization.
Adding propositional content to a kernel sentence ("They slept.") moves sentences forward and enriches their meaning. Here are three types of strategies that give sentences more momentum and depth: the connective, the subordinative, and the adjectival.
Professor Landon makes the case for using adjectival strategies to increase the efficiency and effectiveness of your sentences. Boiling down subordinate clauses to single modifying words allows you to pack more information into each sentence.
Cumulative sentences lend themselves to writing moves that almost guarantee more effective sentences. Learn how these easy-to-write sentences take you through increasingly specific sentence levels and how they clarify and embellish preceding phrases.
Cumulative sentences also employ modifying words and phrases before, between, or at the end of base clauses. Investigate the benefits and potential risks of each of these placement options on the meaning of your sentences.
With your newfound understanding of the relationship between base clauses and modifying phrases, you examine the three major patterns of cumulative sentences and their effect on the base clause: coordinate (refining information), subordinate (providing new information), and mixed (combining the previous two patterns).
This lecture elaborates on coordinate cumulative patterns, which pile up modifying phrases that point back to the base clause. It also emphasizes the importance of listening to how your sentences read as a means of tightening up their logic.
Continuing the discussion of various cumulative sentence patterns, Professor Landon zeroes in on subordinate and mixed patterns, which offer more variety to sentences by adding specificity or tapping into the strengths of both coordinate and subordinate patterns.
Prompts can also speculate about the unknown. Examine three major prompts—"because," "perhaps," and "possibly"—to use in your sentences, so you can reveal more of your thinking and strengthen the connection between you and your readers.
Follow along with scholars and critics as they try to study, measure, and explain the mystery of prose rhythm. Learn to better recognize the distinctive rhythms that characterize your sentences by imagining their modifying levels as long or short bits of Morse code.
Learn to start thinking about sentences as not just "loose" or "periodic" but as possessing degrees of suspense. Base clauses in a cumulative sentence can be moved about or split to increase or decrease the reader's suspense about how the sentence will end.
In this lecture, you unpack the periodic/suspensive sentence, which suggests a greater degree of control over its material and, when used effectively, can generate interest by combining complex concepts with syntactical suspense.
Look closely at four broad tactics to delay completing the base clause, two of which involve the manipulation of modifiers and two of which use initial clauses or phrases as either extended subjects or as modifiers. You also consider a possible fifth tactic that involves using a colon or semicolon.
Another option for adding suspense to sentences is starting them with certain prompts such as "if" or "since." This lecture illustrates the uses of these and other prompts and considers some reasons for making suspense a critical part of your prose style.
Perhaps the most intense form of the periodic/suspensive sentence is the balanced sentence. Professor Landon points out that balanced sentences, in drawing their strength from the tension between variation and repetition, offer an advantage to writers comparing two subjects.
Binary oppositions in balanced sentences lend confidence and conclusiveness to writing. With its mirroring effect, the duple (double-beat) rhythm gives balanced sentences the power to stay lodged in your mind.
Three-part series bring an extended balance to sentences through the buildup of elements in threes. Delve into the unity, progression, and intensification at the heart of this syntactical form.
Sentence balance is an extension of the organizational constructs of human consciousness. Explore the prevalence of balanced rhythm in our speech and writing and look at numerous examples of sentence balance.
The opposite of the minimal base clause is the master sentence: a very long sentence that can function in remarkably original and controlled ways. While no formula can anticipate the context and purpose of master sentences, you can construct effective ones by combining a number of the strategies from earlier lectures.
Move beyond the sentence and on to the impact of several sentences in sequence and see new possibilities of resonance and relationship among their rhythms and structures.
How do our sentences fit into prose style? In exploring critical approaches to this issue, Professor Landon emphasizes that prose style can be seen as both a problem and a gift passed on from writer to writer.