Kristy Taylor

Transitions are words or phrases that help make connections between sentences and paragraphs. In many cases sentences and paragraphs can stand on their own, but to help the reader flow through the material without stumbling, transitions are usually needed.

By linking sentences and paragraphs together smoothly, the reader is not distracted by jumps or breaks in ideas or scenes. Sometimes the writer is just too close to the material to see that these cues are missing.

Repeating keywords can help. Pick up a keyword from the previous sentence or paragraph. Doing this can help to sew sentences or paragraphs together.
 
Another way of doing this without being too wordy is to use short phrases that recall the previous sentence:

 “This is why we must…”
 “Because of this…”
 “This is a problem because…”

You can also choose to use specific transitional words or phrases:

Addition Transitions (adding to a point): along with, also, as well as, but also, furthermore, in addition to, moreover, not only, on top of this

Comparison Transitions (similar things): comparatively, identical, likewise, similarly

Concluding Transitions (to end a section): finally, for these reasons, in conclusion, in short, on the whole, therefore, thus, to sum up

Contrast Transitions (to highlight opposition): although, but, conversely, despite this, however, in contrast, nonetheless, on the other hand, still, whereas, yet

Example Transitions (when giving evidence): for example, for instance, in fact, to illustrate, specifically, that is

Place Marker Transitions (to move the reader from point to point): above, adjacent to, below, beyond, finally, lastly, next, second

Time Transitions: after, afterwards, before, during, formerly, meanwhile, now, prior, soon, subsequently, then

More importantly, transitions should be invisible, just like punctuation. They should not draw attention to themselves; instead they should draw the reader along with the story/article/etc…

Transitions should flow naturally and connect each sentence or paragraph effectively so as to present your writing as a complete whole.

© Kristy Taylor 2008

There is a place or location (whether real or theoretical).

Their is the possessive form of them/they.

They’re is a contraction of they are.

See how easy that was, yet so many people still get these words mixed up. And these three little words sound exactly the same, which is part of the problem.

Now let’s look at them in some sentences so we can see why they are different:

• He left his books over there.
• Their ice-creams melted in the hot sun.
• They’re going to be late if they don’t hurry up.

Here are a few little tricks you can try that should help you to remember the differences:

• If you can replace there with here, then you need to use there.
• If you can replace their with his, our or my, then you need to use their.
• If you can replace they’re with they are, then you need to use they’re.

The example below shows all three words used in one sentence: 

Their dog threw up in the garden over there where they’re about to plant some tomatoes. 

In most cases if you have ruled out their and they’re you probably need there.

© Kristy Taylor 2008

Since the 14th century people have been getting confused when using lay and lie. Just what is the difference between these two words and why do we always get them mixed up?

To lay or to lie, that is the question (as Shakespeare might say, or ask). One of the main reasons we get these wrong is because we get them confused with their past tense versions.

The past tense of lay is laid, and the past tense of lie is lay—hence the confusion. (Note: never use layed, the correct spelling is laid.)

Remember that lay means ‘to put or place’ and lie means ‘to rest or recline’.

Present tense example:
You lay your book on the desk, and it will lie there until you pick it up again.

Past tense example:
Yesterday he laid his book on the desk, and it lay there until he picked it up.

A handy mnemonic:
Lay is tr(a)nsitive – a verb that takes an object. Ask yourself: lay what down?
Lie is (i)ntransitive – a verb that doesn’t need an object. Tell yourself: it’s already down.

If you’re still having trouble remembering which one to use, try replacing lay/lie with the word ‘place’. If the sentence sounds right with the word ‘place’ then you need to use lay, if not, use lie.

© Kristy Taylor 2008

New writers often make the mistake of assuming the best pieces of writing are filled with long, complex, jumbled sentences. Not true. If you want to keep your readers’ attention, try varying your sentence lengths. Otherwise you could bore or even intimidate your readers. 

Effective writers understand the importance of varying between shorter and longer sentences. Like a musician, or well-versed public speaker, you must understand how to use words and sounds to add emphasis where needed.

The short sentence adds stress or speed. It gets to the point. It punches the reader in the lip, so to speak. For example:

I love you. I feel things with you. I haven’t felt that before.

With this passage readers know exactly what the writer or character is saying. Every word matters in the short sentence. Take another example:

I love you because I feel things with you, and I haven’t felt that before in my life.

It doesn’t resonate as deeply as the first passage, does it? The chopped up sentences are more effective. The length makes the difference.

The complex, compound sentence has its rightful place as well. It conveys a stream of consciousness or intense emotion in fiction. For example:

That dog has found my last nerve, and do you know what that means? It means that from here on out, you’ll be walking that mutt, and you’ll be fetching its water and nasty canned food and cleaning up the pee stains all over the house while I nap or watch Kath & Kim while sipping on some plonk with my sister. That’s what it means!

The anger and authenticity of this passage is highlighted by the free-flowing length. Readers feel the words pouring from the character’s mouth. (Notice the last sentence, which is considerably shorter than the rest of the passage, is where the emphasis falls.)

After taking into account sentence length and purpose, remember: the key is balance. Too many short sentences make the writer seem childish or immature. The reader gets bored. Overuse of lengthy sentences creates the same results. Essentially, you don’t want monotony in your writing.

If you’re wondering which sentence type you lean toward, there’s a simple formula many English professors teach their students. Find an essay you’ve recently written, and highlight 25 random lines. Count the number of words in each sentence. Add those together. Next, divide the number by 25. This is your average number of words per sentence. If you’re below 14, consider using longer sentences in your writing. Anything over 22 indicates you’re using too many compound or complex sentences. Chop them up. If you’re between 14 and 22, take an overall look at your sentences. Are you presenting a variety of lengths and structures? Read the paper out loud. Does it flow? If you believe something sounds out of place, then it probably is.  

Learning the ‘rhythm of writing’ isn’t something you’ll learn overnight, but with practice you’ll catch areas in your writing that lack variety and you’ll learn how to transform your sentences into memorable prose.

© Kristy Taylor 2008

Why do these three little words cause so much confusion for writers? Most likely because they sound the same, and so writers think that these words are interchangeable. Unfortunately that is not the case as these words have their own distinct meanings.

When words sound the same but have different meanings they are called homophones. These three words all sound the same but look different. So let’s have a look at these differences between two, too and to:

Two – the number 2. Other words that signify the number 2 generally start with or include the letters tw, e.g. twenty, twins, twice, between.

Too – also, as well, in excess, excessively. Too is an adverb (modifies a verb).

To – everything else that the first two don’t apply to. To usually begins a prepositional phrase or an infinitive (because it’s a preposition).
To make it a little easier to see and hear the differences, let’s look at the examples below:

• He held two cards in his hand.
• He drank too much alcohol that night.
• He went to the bathroom many times that night.

With the first sentence ask yourself ‘how many cards,’ and see if a number is needed. With the second sentence ask yourself ‘how much alcohol,’ and if you can replace it with ‘excess alcohol,’ you most likely need the word too. And with the last sentence ask yourself if either a number or a reference to ‘also/excess’ is needed—if not, you need to.

© Kristy Taylor 2008

The usage of that or which can confuse the best of writers, and often leaves the grammarians scratching their heads. Below we will look at both words and try to find a solution.

That can be used as a demonstrative pronoun, an adjective, a conjunction and sometimes as an adverb. But the most confused use of that occurs when the writer is not sure if they should use that or which.

That is often omitted when it is used to introduce a noun clause or after a verb that expresses a process.

Example:
The book that he read was Oliver Twist.
The book he read was Oliver Twist.

The second example reads fine without the that. This is quite common in modern writing and is in line with Strunk’s ‘omit needless words’ mantra.

That is also used after a restrictive clause; meaning that it restricts the clause that it follows so no confusion is made.

Example:
He picked up the books that were on the bedroom floor.

In this example that restricts the books being referred to and serves to avoid confusion as to which books are being picked up.

Which can be used to introduce direct or indirect questions, as well as in relative clauses.

Which is usually preferred after a non-restrictive clause; meaning the information after which does not have to refer directly to the clause it follows as it is only adding extra information.

Example:
He got the job, which lead to his improved finances.

In this example which is only adding some extra information, it is not restrictive in that it is not referring directly to him getting the job.

It’s no wonder we get confused with these two words, especially when it is possible to sometimes swap the two. Which can also be used in place of that in a relative clause, though this is usually as a style choice.

To try and keep their usage straight in your mind, remember the following:

That is used to clarify. Which is used to add extra information.

© Kristy Taylor 2008

Surprisingly these two words are very easy to distinguish between, yet many writers get them mixed up. So when should than be used and when should then be used? Let’s look at some examples below.

Than is used to make a comparison between things, usually after a comparative adjective or adverb, to introduce a second clause or element that is not equal.

Examples:

• John is shorter than Jenny.
• His singing was louder than hers.
• The kidney operation was more urgent than the facelift.

Then is used to differentiate time, usually to indicate when something occurs in a particular timeframe or sequence.

Examples:

• Finish your dinner and then brush your teeth.
• I’ll jog to the bench and then I’ll sprint to the fence.
• The invoice was for $100.00, but then there was tax added as well.

A good mnemonic to use could be:
Than = a for comparing an apple to an orange
Then = e for an event in time

Remember, than is only used to make a comparison. So if you are comparing something, use than, and if you are not comparing something, use then. I told you it was easy!

© Kristy Taylor 2007

These two words can confuse the best of writers. They look almost the same but they have different meanings. So what’s the difference between the two?

Affect is mostly used as a verb; it is used to show how something is being influenced.

Example:
Drinking alcohol affects my asthma. (My asthma is being influenced by the alcohol.)
How to remember: the a in affect could stand for active, as in, a doing word or verb.

Effect is mostly used as a noun; it is used to show a result.

Example:
Drinking alcohol has an effect on my asthma. (The effect is a result of the alcohol.)
How to remember: the e in effect could stand for existing, as in, a thing or noun.

There are some instances where affect and effect swap roles and are used in different ways to those shown above.

When used in a psychology context, affect can be used as a noun, meaning ‘the emotion a person attaches to a particular idea or set of ideas’.

When used in a formal context, effect can be used as a verb, meaning ‘bring about’.

So when in doubt, use the mnemonics as shown above earlier:
Affect = a for an active verb
Effect = e for an existing noun

Hopefully this will help keep your affects and effects straight, and have a good effect on your writing efforts, so your career is affected in a positive way.

© Kristy Taylor 2007

How do you write numbers? This is a common question asked by many writers. The answer depends on what field you’re working in or what style guide you need to follow. Arabic numerals are generally used in commercial, mathematics, statistics, science, or technical fields. Other works like literary or humanistic mostly use numbers written out in words.

Some types of numbers are always written as figures. This is to avoid confusion, and to assist the reader with comprehension. These include:

• Dates
• Percentages
• Decimal fractions
• Currency
• Measurements
• Weights
• Tables
• Times of day
• In related series of numbers provided for comparison.

If a number is used to start a sentence, it should always be written out:

• Seventy-five of the buttons were blue.
• One hundred pencils need to be sharpened.

But what about other writing like fiction or correspondence? The general convention is to write out numbers as words when writing from one through nine, and to use figures from 10 onwards. Below are some examples:

• We need four eggs for the omelette.
• The car yard had 14 yellow sedans.

Though, the Australian Style manual for authors, editors and printers says to write out numbers from one to one hundred if the document is primarily text. It also suggests the use of numerals in only some sections is acceptable if needed to emphasise precision, or to avoid clumsiness, in a document that is scattered with statistics or similar. For a document that is heavy with statistics, the style manual says to use numerals throughout.

With the various rules concerning whether to write out numbers or not being so different, it’s no wonder we sometimes get confused. Whatever style you decide to use, if you’re not following a style guide, make sure you stay consistent.