Rob’s Two Cents

Listen up: you can use your ears to write better. It’s true; improving listening skills can go a long way toward improving writing skills. Many people who scoff at such advice probably overlook the subtle, but significant distinction between hearing and listening. The difference between hearing and listening is as real as the contrast between talking and public speaking. Hearing, like talking, comes naturally, but to be effective, listening, like public speaking, takes training and practice. One’s ability to listen effectively can make or break a story. Writers must initially be effective listeners to achieve accuracy.

Good writing is like a healthy meal; both require quality ingredients. Shopping for the necessary ingredients for a good story, many writers turn to interviewing. Interviewing is an indispensable research tool which thrives on effective listening. Imagine, for example, that you are being interviewed for a story about an upcoming event. You notice that the interviewer does not appear to really listen to your responses. If you are like most people, you will probably become concerned about the potential accuracy of the story. Not listening effectively will therefore erode credibility and may likely result in an interviewee providing only short, carefully worded responses. The goal of a successful interview, to achieve a conversation to gather quality information, will most likely be only partially achieved at best.

For novice writers, the hazards of poor listening multiply; for example, writers who have yet to master effective listening skills may likely and unwittingly, perpetuate propaganda. Politicians and others who have public agendas to posit are often skilled in using interviews to bring attention to their position without actually responding to the writer’s questions. Interviewers who are too busy preparing for their next question to practice effective listening skills may overlook this tactic, and the result will likely be an inaccurate, one-sided article.

Seasoned writers may also face challenging obstacles to effective listening. Upon hearing a source react to a controversial issue, for example, the veteran writer, may rush to judgment and unfairly categorize a response incorrectly. Thus a potential source might be immediately discounted without being given a legitimate opportunity to be heard. The resulting article will probably be unfair and incomplete.

For the writer who seeks to cover a speech or a meeting, other obstacles to effective listening can emerge. Because people can think four times faster than a speaker can speak, writers must learn to compensate for this time discrepancy. A writer can use the extra time to jot down observations or make relevant personal notes in preparation for writing the article.

Effective note taking skills can overcome obstacles to effective listening. These skills include highlighting material the speaker emphasizes, grouping related items, categorizing information as key points or supporting material, identifying information that needs to be verified, etc. To maximize listening efficiency, writers must be determined to resist internal distractions such as hunger or anxiety concerning an unrelated problem and external stimuli such as noise or the speaker’s physical appearance (if it is unusual).

Writers who are gathering information for an article must avoid being passive listeners. Passive listening is the listening mode associated with listening for entertainment purposes. A more proactive listening mode is comprehensive listening. At the comprehensive listening level, a writer listens to understand a source, taking into consideration what is being said, how and why it is being said, and who is saying it. Analytical listening is also a valid mode for writers.

Analytical listening puts into gear one’s critical thinking skills and creates a necessity to accept or reject the validity of information. A writer who is seeking to determine the honesty of a speaker, for example, should employ the analytical listening mode.

A writer, who is an active listener, sends important feedback signals to the speaker. A dazed look might signify to the speaker that the presentation is too complicated. A sleepy look might indicate that the presentation is boring. An inquisitive look might cause the speaker to elaborate. As with any interpersonal communication, feedback is important for the speaker to assess and perhaps modify his timing, delivery, content, pace, style, and vocabulary.

Habits that defeat effective listening are especially difficult for some writers to overcome. Writers may find that when they hear information to which they can relate, they daydream or interrupt the speaker to share their personal experiences. Also, when gathering information for stories, writers are supposed to disregard their feelings and strive for objectivity. However, writers will feel strongly about certain issues. Some writers may be inclined to argue with a source as opposed to listening to a point of view contrary to that of the writer. In daily conversation, these habits may be viewed as annoying, but for writers gathering information for stories, these habits can be downright counterproductive.

Hearing comes naturally for most writers. Listening, on the other hand, is a skill that must be honed to be effective. For many writers, giving complete and undivided attention to a speaker is considerably more challenging than first expected. As with any learned skill, practice is the key to success. In her book “Staying Well With The Gentle Art of Verbal Self Defense,” Suzette Haden Elgin suggests first practicing with a television or radio. Select a program in which a speaker talks uninterruptedly for about five minutes and listen “hard.” Set aside a few minutes each day to practice effective listening skills. Focus on blocking out all distractions except for what the speaker is saying. At first, most writers may lose focus rather quickly. It is important to remember that as soon as you catch your mind drifting, stop and return your focus to the speaker.

Practice this until you can regularly keep your focus on target for 10 minutes. At this point, the reporter’s practice should involve the same procedure, but with the speaker actually talking in person.

Ten Steps to Effective Listening:
1. Be prepared to really listen.
2. Maintain strong eye contact, consistent with the source.
3. Visualize what is being said.
4. Avoid interrupting.
5. Wait until the speaker is finished to reach conclusions.
6. Ask questions only to clarify what was said.
7. Give relevant feedback;
8. Avoid internal and external distractions.
9. Concentrate on the speaker’s words.
10. Restrain your emotions, stay completely objective.

The rewards reaped by writers who practice effective listening will be reduced misunderstandings and improved accuracy of information. A high quality article requires high quality information, and effective listening is a significant tool that helps writers achieve that goal. So remember, the next time you get the urge to write, remember this: before the time comes to sharpen your pencil, it just might be beneficial to sharpen your listening skills first.

By Dr. Robert F. Stevenson
A few days ago, a friend of mine struck up a conversation with me concerning the pervasive problem of poor grammar. The discussion centered on the fact that one of the biggest complaints employers across the country have concerning those applying for entry-level jobs is the potential employees’ poor grasp of English grammar. I contributed my observation that in the not-too-distant past a good test for writers frustrated over a grammar conundrum included the simple question: “Does it sound right?” Unfortunately, a problem facing today’s youth is that poor grammar has seeped so deeply into daily conversation that, “Does it sound right?” just doesn’t work anymore. A little research confirmed the existence of that problem.

In an article entitled Poll finds grammar not prized by high school teachers, published in Education Daily, April 21, 2003, author Michael Cardman reported, “Among six general writing skills, high school teachers in a recent poll rated grammar and usage as the least important.” Cardman went on to say, “Of seniors who graduated in 2002 and took the ACT (standardized test), 46 percent scored at or below a level of marginal preparedness for college coursework, meaning they may struggle with such tasks as using punctuation to clarify meaning, making subjects and verbs agree, or linking clauses clearly and logically.”

In a separate article by United Press International, March 18, 2003 entitled, Top 20 mistakes in writing resumes, Mike Worthington, the so-called “Resume Doctor,” discussed recruiters’ top 20 complaints. Recently, Worthington’s firm interviewed hundreds of recruiters and headhunters in the United States and Canada to find out what turns them off. The report, available at ResumeDoctor.com, found that, “The No. 1 thing recruiters hate is bad writing: spelling errors, typos and poor grammar.”

Are you one of the countless hordes of seemingly normal people with a “closet” grammar problem? Maybe you were absent (in mind if not in body) when your fifth grade English teacher discussed pronoun-antecedent agreement. Or, maybe the pluperfect tense makes you perfectly tense. Or, maybe you are one of the lucky ones — who invariably “gets it right,” without a clue as to why. Whatever the reason, if you have concealing a grammar phobia, it’s not too late to conquer the comma!

Why not make this the day that you begin to liberate yourself from that cloud of confusion surrounding English grammar? It can be done. When I taught English as a Second Language to international students at a community college north of Seattle, one of my most common replies to my students was, “That’s another exception to the rule.” I sometimes felt a little guilty that I was fortunate enough to grow up speaking English because English seemed to me a relatively difficult language for a non-English speaking adult to master.

Shown below is a quick test of common grammar and spelling problems. Why not take a minute to see how you fare? Just circle the correct responses.

a. The dog lost (its or it’s) collar.
b. Give the money to (whoever or whomever) you like.
c. Exercise may be difficult (comma, semicolon, or no punctuation) but it can be very rewarding.
d. The (effect or affect) of the experiment would negatively (effect or \ affect) the group.
e. Our garden has (a lot or alot) of weeds this year.
f. The team comprised entirely of girls made (their or its) debut last Saturday.
g. It is (all right or alright) that you are finished (all ready or already).
h. You (two, too, to) have (two, too, to) much time (two, too, to)!
i. She made this gift for you and (I or me).
j. The committee discussed the issue amongst (themselves or itself) before rendering (their or its) decision.

The answers are:
a. its (“it’s” only means “it is”);
b. whomever (we need an object to fit with the preposition “to” in this sentence – “whoever” is nominative case or a subject; whomever is the objective case pronoun); c. comma (there are two independent clauses [phrases with a subject and a verb] combined by the coordinating conjunction “but.” The rule is to “always precede a coordinating conjunction with a comma.” )
d. effect (“effect” with an “e” means result); affect (“affect” with an “a” means change). e. a lot (“a lot” is always two words);
f. its (in this sentence, we’re dealing with a pronoun/antecedent agreement. “Their” is plural and therefore incorrect because the antecedent “team” is singular).
g. all right (alright is non-standard English); already (already means “by now”).
h. two (always a number); too (excessively); and too (as well).
i. me (the pronoun “I” is always a subject, and “me” is always an object. In this sentence we need an object).
j. themselves (“committee” is a collective noun; it can either be singular or plural depending on its usage. [In the first reference, “committee” is plural, so we need a plural pronoun) its (committee is acting as a singular noun in the second reference.] “Its” is therefore the correct pronoun).

Score:
If you missed 0-2, go back to your reading; you’re doing fine.
3-5, maybe a little brush up wouldn’t hurt.
6-8, time to get a library card and enhance your writing through reading
9-10, time to get a grammar book.
If you felt a little rusty with this English grammar challenge, I recommend acquainting yourself with either of these two books: THE LITTLE BROWN HANDBOOK or STRUNK
AND WHITE’S ELEMENTS OF STYLE. Don’t let a comma come between you and your next job.

If you’re like me, each time you read your own writing, you find additional opportunities for improvement. I find that when you work diligently at revision, improved writing always results.

Revision (re + vision) means “to see again”. In order “to see again” clearly, it is important to rest your eyes prior to proofreading. Specifically, after your final draft, try to wait at least several hours before beginning the revision process. Most of us need this time to get what I call “a new pair of eyes”. Editing without rejuvenating your eyes may not lead to accurate or well-considered improvements because writers with “tired eyes” often read what they intended to write as opposed to what they actually wrote.

The revision process is most effective when it is conducted in layers. Layer one of editing should focus on overall completeness. This stage includes editing for relevance and readability. Layer two then centers on mechanics, including spelling and grammar. Layer three focuses on style. Skipping the revision process or attempting to proofread for all three layers simultaneously often guarantees mediocrity.

To emphasize the importance of clarity, this column focuses on layer three of editing, specifically editing for clichés, euphemisms and redundancies.

A cliché is an expression that at its birth was both original and clever. Clever expressions spread like wildfire (I couldn’t resist that one!), and over the passage of time such expressions become trite and overused. Readers often see clichés as signs of laziness and/or lack of creativity. How many of these clichés have you used in the last year?

blind as a bat
don’t cry over spilt milk
easier said than done
easy as pie
last but not least

Careful copyediting can catch clichés. Once discovered, clichés should be removed, rewritten or revised. For example, to convey the same meaning found in the cliché “as happy as a lark” without using that trite expression, consider rewriting it as “happy as a dog with a new bone.” Writers may also choose to revise, reverse or otherwise twist a cliché to emphasize a different meaning. Consider the following examples:

Actions speak louder than inactions.
You can teach an old dog new trick.
Got off on the right foot.
Here today, here tomorrow.
You’ve got to save money to make money.

An exterminating company once took advantage of this cliché twisting practice in its advertisements using the phrase “Hear no Weevil; See no Weevil.” If you’d like to exercise your brain, here’s a handful of clichés you might like to twist, but be forewarned that there are no answers supplied for this exercise.

needle in a haystack
pretty as a picture
sad but true
smart as a whip
under the weather

Euphemisms are another foe to good writing and a prime target for revision. A euphemism (from the Greek words eu - well and pheme – speak) is an expression that replaces a phrase the writer feels is too offensive or blunt. The problem with euphemisms is that these words tend to color or distort the intended meaning of the writer. Instead of saying that a creature died, for example, we often say that he/she passed away, went to sleep or if the creature was an animal was put down. “Plain” or “homely” has replaced “ugly”. And a “garbage collector” may often be referred to as a “sanitation engineer”.

What the writer must guard against is the tendency of euphemisms to confuse, complicate, or otherwise muddle the truth. When reading or writing about the unpleasantness of war, for example, we find a multitude of euphemisms: “bombing raids” become “surgical air-strikes,” “friendly fire” means an accidental attack on one’s own forces by one’s own forces or allies.
“Collateral damage” is a euphemism for civilians killed in bombing attacks.

If the purpose of your writing is to convey a clear message, anything detracting from clarity should be avoided. Because writing usually lacks the luxury of immediate feedback from the readers, the message in your writing must be clear and precise.

Here are five sentences that include euphemisms. See if you can navigate through the fog to determine the sentences’ true meaning.
Bill is in the twilight of his life
That man is seeing her.
The dog is a couple of eggs short of a dozen.
Mary is vertically challenged.
The boy lost his lunch on the roller coaster.

Redundancy, redundancy, redundancy! Good writing also avoids language that can be eliminated without creating a change in meaning. While many writers include redundancies in their initial drafts, third level revision provides an effective tool to eliminate these erroneous errors (oops, I did it again). Sometimes we include phrases that have already been stated. This error is common when writers introduce dialogue. For example: “Coach Smith explained that he was happy with his team’s performance. ‘I am happy with my team’s performance,’ Smith explained.”

Two words or concepts that are redundant are frequently called pleonasms. Examples of this type of redundancy include: 12 midnight, circle around, and absolutely essential. Here’s a brief test. See if you can correct the redundancy errors in the following sentences.

In view of the fact that time is running out, we should hurry.
The water completely surrounded the tree.
They are dressed exactly the same.
The firefighter descended down the pole.
Feel free to share your thoughts and ideas with the teacher.

For some writers, editing for clichés, euphemisms, and redundancies is an afterthought at best. But for those writers who are determined to improve their writing, careful revision for clarity culprits will minimize the potential for readers’ frustration and ensure a more vivid, expressive, and well-understood article.

ANSWERS:
Euphemisms:
Bill is old (better yet simply include his age). If your purpose is to describe Bill’s age, it’s best to be direct. Descriptors such as “old” and “young” are usually too vague.
That man is dating her. (While “dating” is neither offensive nor blunt to most of us, seeing may or may not connote a more casual relationship).
The dog is stupid. (No room for misinterpretation here.)
Mary is short. (This example is just plain silly.)
While on the roller coaster, the boy vomited. (It’s best to use the facts, plain and simple)

Redundancy:
Because time is running out, we should hurry (Redundancy includes removing irrelevant words.)
The water surrounded the tree. (“completely” is unnecessary; if the water partially surrounded the tree say so, otherwise “surrounded” speaks for itself.)
They dressed the same. (“exactly” adds nothing.)
The firefighter descended the pole. (The direction “down” was already expressed in the verb)
Feel free to share your thoughts with the teacher. (This is a common error: “thoughts” and “ideas” are synonyms; therefore one of them is redundant).