Arthur PlotnikReseñas

I got this as a Christmas gift and thought the title was witty. Unfortunately, the title was the best part of the book. Originally published in 2005 and reprinted in 2007, I have to wonder whether the author didn't realise that at some point the members of Generation Y, about whom he was not particularly kind, would potentially pick up the book in hope of some new insights.

I was at a loss to find any new insights in this book. It seemed that the book rehashed advice I've read time and again in other style guides and how-to manuals, sometimes to the point where Plotnik directly quoted them (for example, his quotes from Lynne Truss and Stephen King). I may be personally biased here as I find [b:Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation|8600|Eats, Shoots & Leaves The Zero Tolerance Approach to Punctuation|Lynne Truss|http://photo.goodreads.com/books/1309285488s/8600.jpg|854886] and [b:On Writing|10569|On Writing|Stephen King|http://photo.goodreads.com/books/1166254200s/10569.jpg|150292] to be two of the most invaluable books in my reference library. In fact, I would suggest that instead of Plotnik's book, which quotes from these and then picks them apart, to just go straight to the source.

The final jarring note was that there were so many spelling errors in the book. 'Black Horse' instead of 'Black House', by Stephen King, or 'Annie E. Proulx' instead of 'E. Annie Proulx' (in fact, this appeared as 'Annie E. Proulx', 'Annie Proulx', and 'E. Annie Proulx' at different points in the text). I realise proofreaders can miss things at times, but Plotnik lists amongst his other works 'The Elements of Editing'. I don't think I'll read it if this finished product is anything to judge its advice by.

Arthur Plotnik is an arch stylist, which made this book at least partly worth reading.

Originally published in 1982 and apparently never revised in subsequent editions (like its namesake, The Elements of Style, which is now in its fourth edition), this book, needless to say, has become quite dated. It's hard to imagine, for example, in the era of digital cameras and laser printers, that an excursus on half-tones remains necessary for editors. Likewise the relatively lengthy exposition on 35mm cameras. I'd hoped for something different.

Still, I enjoyed the use of some forgotten editorial terms from my high school years (does anyone ever need or use a non-reproducing blue pencil these days?). And, as I said, Mr. Plotnik's style is a pleasure to read. In the final analysis, I suppose, the most succinct thing I can think of to say about The Elements of Editing is that it is of historical interest.

This book makes a nice companion the Strunk & White (AKA The Elements of Style). Where Strunk and White gives you the rules of grammar and usage, Spunk & Bite teaches you how to creatively break the rules. I'd recommend this book to any writer looking to add interest to their locution. As the book says, it is all about "locution, locution, locution". I found the chapter on writing for Gen-Y a little less than useful, but otherwise, the book was pretty useful.

I got this book from the library and I think the kindle book is too expensive at 13.99, but the type on the hardback is too small. I looked it over and it has some good ideas. I would have bought it for Kindle if it had a reasonable price, but I won't really read it over and over, so not worth buying unless you are a professional writer who collects books on How to Write.

Hey you, yeah, you with the face. Are you interested in making your writing snappier? Well, this book might be able to help you out. Taking an obvious reference to the perennial classic Elements of Style by William Strunk Jr. and E. B. White, Spunk and Bite by Arthur Plotnik attempts to impart the wisdom of a well-turned phrase without making your writing appear stuffy or strained. As with most language, a great deal of how we talk and by extension, how we write depends on current cultural norms.

Since it takes an obvious reference to Strunk and White, we may say that this is an updated version of Elements of Style without actually having the Strunk and White name. It covers all of the parts of grammar and rhetoric you might need; from how to describe colors all the way to the use of a semicolon. This handy guide is only slightly dated but that is only due to some of the references it makes.

Excellent reference book on urban trees. Concise descriptions.

Informative, if now somewhat dated, basic grounding in the editorial process.

The writing in this book is so good, it's inspirational. I got some good ideas from it, but not enough to get it to four stars.

I wish I could find a more current updated version of this book. The Elements of Editing is perfectly edited. Of all the books on writing I've read this one cuts the fat and is nothing but what I need. There are no long winded stories and analogies that go on for paragraphs and pages. Nope, every page of this book had a post it for notes and the notes were straight forward. Just think of when you read reviews that say, "They could of said it in half the pages."

Plotnik says it in half the pages...and it is still entertaining.

This is a book about the English language. A small part of it, actually: superlatives. Like many writes, I enjoy playing with the language and I found delight in reading this book. Well, not reading exactly but skimming through its “wallopingly fresh” lists of superlatives. As any dictionary, it serves as a reference, to consult when needed.
Who is this book for? The author answers this question in his charming and funny introduction:

In addressing “you,” I am picturing someone who takes language seriously, even when using it to evoke giggles and gasps. You’re a novelist or a reporter reaching for an emphatic way of saying beautiful or big. You are a critic enchanted by a new work, but last week you used enchanting, haunting, and mesmerizing for the hundredth time. … You are everyperson, wishing to excite others about the things exciting you, or looking to energize such everyday civilities as “Have a ___ trip.”

Plotnik offers his readers a thesaurus of “great” and “fabulous” in a book comprised of over 200 pages. It’s not surprising that a book on such a topic should sing dithyrambs to an adverb, a part of speech most writing teaches condemn as harmful for fiction. The prevalent dictum on the subject is that fiction narrative should be spare, consisting mostly of nouns and verbs. Otherwise it’s called ‘flowery,’ with definite derision in the tone. I think it took gumption for a writing professional to present an opinion contrary to so many MFAs in Creative Writing.

I use tons of adverbs, and to those who still believe the old saw that all adverbs are bad, I say, heed the enlightened language experts: Adverbs are bad when they serve no purpose, when they add nothing but excess baggage to what they would modify. Otherwise, they serve to specify the degree or manner of the named quality, yielding information that is interesting, intensifying, and sometimes fun.
I have tried to use adverbs that energize and sharpen…

I love adverbs and adjectives too; I think of them as little words that add color and taste to a story. So Plotnik is definitely my kind of guy. He not only makes up his own superlatives but also quotes other writers, as well as critics and bloggers, who first came up with a whimsical expression or a funky word. He gives tribute where it’s due:

“If that advice makes your insides do the happy dance, may I suggest a writing book that will really get your belly in a polka.”
-- Bonnie Grove, fictionmatters.blogspot.com Oct 14, 2009

Plontik also quotes one of the most beloved American writers, Mark Twain: “Grief can take care of itself; but to get the full value of a joy you must have somebody to divide it with.” I’m in full agreement with the sentiment, and I want to share my joy in this book with my friends on GR.
If I had to use one word to describe this little volume, I’d employ one of the author’s superior superlatives: droolworthy!
Recommended to every writer and every language buff.

Any words I might use to describe just how brilliantly adroit this book is will pale in comparison to the sheer amount of options this book has made available to me. The book is arranged into several different categories for easy use and gives histories on some of the most popular superlatives. I think I would have to study Better Than Great for a few weeks before I can truly use all these words in place of my too overused go-to's like amazing and excellent. A definite must have for anyone in any kind of literary field or anyone who loves words of all kinds.

I received this book as part of the GoodReads Giveaway.

Over a career, author and editor Plotnik has urged writers to be more exciting and engaging with words. Now regarding superlatives, he writes, “We find ourselves defaulting to such habitual choices as good, great, and terrific, or substituting the weary synonyms that tumble out of a thesaurus...” And then we have to plump them up by underlining, italicizing, CAPITALIZing and punc.tu.ating!

So here he compiles 6000 “wallopingly fresh” adjectives, adverbs and multi-word expressions. They’re lively and imaginative, with a palpable pop-culture influence and mostly suited to writing that’s energetic not formal. Their organization is not typical-thesaurus alphabetical but rather in chapters by evocative intent, for example:
• degree of acclaim, e.g. great (“seize-the-day special”) vs sublime (“nirvanic”) vs exceptional (“certified rare”);
• physical/ mental/ emotional/ spiritual effect (“blistering,” “emotional eggbeater,” “aneurism-inducingly funny”);
• beauty or gastronomy (“Halle Berry 2.0,” “noshalicious”);
• size/ intensity (“hangar-sized,” “Wagnerian”); and
• degrees of cool and wicked cool (“cool in high-def,” “cold”).

All lists include a range from vintage terms to contemporary to ultra-trendy. Appendices include txt-ready abbreviations and a bibliography lists additional online and print sources.

As a reference work, it’s difficult to use; it was only in digging deeply for this review that I began to meaningfully differentiate among the chapter categories. And there are hundreds of expressions in each, not something to browse in a moment of need. Still, I agree that language needs freshness, and precision, so I'm following the approach Plotnik suggests in an appendix -- to compile a starter set of fresh words I'd actually use (he supplies one) and begin to get comfortable using them.

(Review based on an advance reading copy provided by the publisher.)½

Funny and down-to-earth without a lot of coddling.

Plotnik was the editor of American Libraries for many years. This is a good basic guide to what editors do and how they go about it. If you are new to editing or new to writing, I recommend it.

You want to write a Blog, an article… oh anything in public in fact, well in the USA you have to deal with the style police. In Britain, they are known as the green ink grannies and are gently ignored; we don’t do earnest. Well we almost did with A Dictionary of Modern English Usage, by Henry Watson Fowler which suggested about the split infinitive that the

…English-speaking world may be divided into (1) those who neither know nor care what a split infinitive is; (2) those who do not know, but care very much; (3) those who know and condemn; (4) those who know and approve; and (5) those who know and distinguish.

Thankfully this was by the 80’s revised away from prescriptive American style policing so we are free to keep to the high standards of writing where expression is more important then style. Hmm, may have to come back to this.

But write in America and you judged by the book of truth, the book of righteous writing, the book correctness which all Americans know as The Elements of Style. Its roots go back to 1918 where William Strunk, Jr. wrote a 43-page booklet for the good students of Cornell University. And like all sensible guide for students was mainly ignored. But then in 1957, E.B.White, one of the top 20th century literary essayists (and yes author of Charlotte’s Webb) wrote a piece praising the now largely forgotten William Strunk defence of lucid English. This led to the first edition that originally detailed eight elementary rules of usage, ten elementary principles of composition, "a few matters of form," and a list of commonly misused words and expressions. By the 80’s and the 3rd edition, this had bloated up to Fifty-four pointers, along with a list of common mistakes concerning individual words: Eleven rules of punctuation and grammar; eleven principles of writing; eleven matters of form; and twenty-one reminders for a better style.

What Spunk and Bite by Arthur Plotnik (yes we get the pun but in Britain, you have now managed to create an embarrassed silence where we pretend not to have heard you) does is to challenge the prescription of dead white upper class Americans without arguing for do you own thing writing-see told you I would come back to it. To liven your writing, you need to know the rules, but then know when to break them. Be lucid but be fun and avoid at all times clichés except if they warm the cockles of your readers’ heart.

One of the tips I have taken up is to subscribe to various words of the day to build up my wordbank. Two of my rave faves are vindictivolence, the desire of revenging oneself, and pinkwashing. This is using support for breast cancer research to market products, particularly products that cause cancer. All in all it comes up with 30 tips to sparkle up your writing that range from inventing words, changing the grammatical function of a word , having strong openings and closings, use semi-colons and dashes to break up sentence but above keeping in mind that the writing needs to make the content interesting.

Let’s leave the final words to Arthur Plotnik:

Perceived correctness can be comforting to the reader, like a tidy house. But what distinguishes a piece of writing is the ambiance- the environmental mood- the language we create…tend to be judged on…aptness, inventiveness, colour, sound, rhythm…Spunk and Bite is our shorthand for such qualities…