I picked this up at a used book sale because I recently finished a MOOC class on grammar and, although I passed with flying colors—oh, I think Constance (author) would suggest I rethink that too oft used phrase…hmm, I passed with aplomb, I didn’t feel like I could by any means teach the subject…so thought this title sounded like a fun way to keep going. I was write! Errr, “Right”! (Now you’re wondering how I passed at all?) This book has it all, and if you didn’t think a book on grammar could be entertaining (as well as instructive), read this one.
Sample? OK, here’s one of many illustrative quotes complete with quippy explanation of the error. This passage is from a section called “Dangling Doozies”:

“Remember, participles exist so that verbs can modify nouns. Dangling participles are adjectival phrases that have come unmoored from the nouns they are supposed to modify and instead modify the nearest noun they can find. Here’s a dangling participle reprinted in the "New Yorker" as a space filler:
In San Diego, the “in” place for years has been McDini’s for corned beef. Thinly sliced and heaped on rye, corned beef lovers won’t be disappointed.”
When was the last time you were thinly sliced and heaped on rye?”

I get that a grammar book probably isn’t your first choice for light summer reading, but if you do happen to enjoy the many quirks of the English language, this is a good one to turn to.
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The author's style doesn't really appeal to me. I feel like she's trying too hard. However, I like the examples from well-known authors, particularly of them editing and improving their work.

I thought it was a bit of a cheap shot using song lyrics from Everclear to illustrate a point. Writing song lyrics is not the same as writing prose.

As a translator, I am annoyed that Constance Hale gives Gabriel García Márquez the credit for writing wonderful sentences in English. He didn't write them, the translator did!

I haven’t made the most of this book because I haven't done the suggested exercises.

This would be a useful reference book for writers of all sorts. ( )

Beware: if you're already anal retentive about word choice, grammar, style, and syntax, this book might be information overload. But, if you're a go-with-the-flow type that can take or leave writing advice, then this will make a pretty good guide on the subject of crafting sentences. ( )

This small book packs in a lot of information in a spirited and intelligent way. Starting “New Principles of Prose” - which are: Relish Every Word. Be Simple, But Go Deep. Take Risks. Seek Beauty. Find The Right Word. She then divides it into three parts: Words, Sentences and Music. Each chapter has four subheadings, Bones, Flesh, Cardinal Sins, and Carnal Pleasures.

This book is a good introduction or refresher for using correct grammar, a word which I think frightens some people, including me, myself and I(?)! Stylistically, it is modern and clever rather than old and stuffy.

But this is a grammar book, you already know what it’s going to explain... the parts of speech, their proper usage, and structure and Hale does so in a manner that uses reference that are topical and sometimes comical and it keeps the information from feeling stale and dated. As in this example for an ‘obscure pronominal reference’ from a church bulletin, “The ladies of the church have cast off clothing of every kind, and they can be seen in the church basement Friday afternoon.” Hahaha!

Hale’s layout is logical and consistent. Using Chapter 8-Interjection as an example:

The Bones (grammar sermonette) are explanations of the chapter subject. She describes interjections as “The banging windows and bursting pipes that add excitement to the story inside.”

The Flesh (lesson on writing), “Since speech tics reveal as much individuality as proper syntax, interjections can help impart character.”

Cardinal Sin (true transgressions) “In speech, like as an interjection buys you a little time when your mind can’t keep up with your mouth. But in prose it has the effect of whittling your words down to whimpering, simpering sissyspeak.”


I appreciate writers who can inform and amuse at the same time. Though the threats of death were a bit extreme. “We do not say I’s, you’s, he’s, or she’s to indicate possession, so why would we say who’s or it’s?” “Who’s and it’s are contractions of who is and it is. Learn this or die.” —Okay, okay!

An entertaining book that will help you review the parts of speech. It also helps tease out what makes writing good and what makes it clunky by looking at such intangibles as lyricism, voice, and melody of writing. A good read for writers, editors, and anyone who likes language. ( )