When it doesn't or when it stops , go back to outlining.
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An outline may go through several phases: a messy collection of notes and ideas; various ways of getting them in order; and a final outline page reduced to a set of headings in sequence. Some of this will get explicitly transferred into the paper or book itself. But good writing is that which is not cluttered by a lot of pedantic-looking. But it is far better for the structure to be implicit in the writing, than overlaid with these markers. If you want to see an example of a clumsy use of such markers, look at Oliver Williamson's Markets and Hierarchies: an important and intelligent book, but very unpleasant to read.
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These order-markers were useful in getting your argument in sequence, but now the sequence will generally carry itself. Get rid of most of the numbers, letters, and hierarchies of sub-headings. To the extent that such markers are still useful, disguise them as vivid and apt titles for sections of your argument. Retain numbers and letters only in places where you genuinely have to list a series of points that are arbitrarily collected, that have no intrinsic order. Headings and sub-headings are a good place to make sure the reader gets your point. Sections of your argument stand out better when surrounded by some empty space.
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This is a visual trick to influence the reader's mind. More than that, writing generally improves by adding space within it. Break up your paragraphs when they get too long. Usually this is not hard to do, even if you have to do it arbitrarily. You may think that the thread of a complex argument is being kept together by having it all in the same paragraph, but the effect on the reader tends to be to bury it.
The same thing holds for sentences. When they get too long and complicated, it is almost always better to break it into several sentences. This is not hard to do, even if you have to repeat a subject noun to do it. Bertrand Russell who was a wonderfully lucid writer gave this as his one piece of advice on writing: whenever you have to convey something complicated in a sentence, put at least part of it in a separate sentence.
A negative example is Pierre Bourdieu. He has even explicitly defended himself in the Preface to Distinction for his inordinately long sentences and paragraphs; he claimed that the complexity and subtlety of his ideas, and all the qualifications they involved, required this form of writing. Don't believe it. Habermas is just as complex as Bourdieu, and better organized; if his writing seems heavy, it is for other reasons, more on the level of the way he expresses his concepts. Erving Goffman was not only well-organized, but also had a light and elegant touch.
When you have that skill, you don't have to rewrite much. Russell once quipped: "I have only rewritten once in my life, and the result was so much worse than the first time that I resolved never to do it again. Writing sentences is not so difficult if you follow the above advice: get the overall structure so you know where you're going in each part of the argument; break up long involved sentences which will also give you an easier syntax.
Inside particular sentences, these points help:. This is old advice, but still good.
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But no need to be rigid about it. Do whatever sounds right. Whatever is easiest to write, usually turns out to be easiest to read. Sartre had a terrible time writing his Critique of Dialectical Reason , and it shows. Get the main action of the sentence into the reader's attention early on, and move the qualifications to the end. This isn't necessarily the way it will first come out in your head, or on paper. Don't worry about it; just get the sentence out and then engage in "word-processing", moving things around to where they fit best. With more experience, rearranging sentences happens faster and faster, and eventually will occur almost before you have it written down.
If you notice your sentences need to be broken up, reorganized, etc.
You can always do it later, as long as you know what it is you have to do. The hardest part of writing is getting that first draft on paper. Once it's there, you can always fix it. There is no such thing as "the perfect word". When I'm in this situation, I just write both words both expressions down, one above or alongside the other, and later come back and cross one out.
If they're both about the same, then it doesn't make any difference which to choose, so just be arbitrary. Again, with writing experience, the choices happen faster and more easily. Do anything to keep up the flow. My father-in-law, who was a newspaper editor and columnist, gave this as his one piece of writing advice, and it has always worked.
When revising, or just plodding along deciding how to say things, it almost never hurts to cut. If you can't decide whether or not to cut a word, phrase, or paragraph, cut it. There are two kinds of sentences: substantive sentences, and traffic sentences. Because complex arguments do not necessarily flow in a single sequence of ideas, it is sometimes necessary to stop and explain the order in which you are giving them: in other words, directing verbal traffic.
One of the major differences between good and bad writing is that the former uses traffic sentences forthrightly, while the latter avoids them.
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If there is a problem with the complexity of your exposition, be up-front about it. Let the reader in on the problem: "This topic is complicated because To unravel it, we have to pull apart these features I'll take them in the following order Although Habermas is not a stirring writer, he is clear on the structural level, and he uses traffic sentences well. Student papers, on the other hand, often get balled up for lack of this. Summaries are a kind of traffic sentence, but coming at the end of the argument and looking back to where it has gone.
This can be useful, but you have to use your judgment as to when the summary is really useful to keep things straight and especially when it leads into the following part of the argument. Summaries which are too mechanical, or which break up the flow of the argument, really fall under the category of "scaffolding" which should have been taken down.
Questions including rhetorical questions can be a graceful way of setting up the flow of what is to come next, or acting as local traffic sentences. Immanuel Wallerstein, who is quite a good writer, organizes a lot of dense material this way. Questions tend to give a nice flow to the sentences, and to lighten up heavy indicative exposition. The use of special technical vocabulary is a matter of taste. Often things can be said more directly without it.
Lord Kelvin, the physicist, said that if a theory really has something to say, it should be possible to explain it in words your bartender can understand. That may be exaggerated, but it is usually true for sociology. Some writers, like Bertrand Russell, got a lot of malicious pleasure out of deflating jargon, by defining its meaning in simple terms.
Wright Mills once did this in a famous passage on Talcott Parsons. But if you write without jargon, bear in mind you are taking a risk. Technical language shows off one's membership in a particular linguistic community, and people who are committed to a professional specialty tend to automatically put down people who don't use their jargon. Whether or not to use jargon is more of a social decision than a stylistic one; it represents different strategies toward the intellectual field. They are among the most jargon-ridden of today's intellectuals, which reflects the fact that they write esoterically for an elitist group of intellectuals.
This is a remarkable example of self-deception for movements which regard themselves as anti-elitist and liberating. Marx himself was one hell of a lot better writer probably because he hung around with Heinrich Heine, the liveliest of all German poets—and because he genuinely wanted people to get the point.
A lot of otherwise competent writers in sociology are flat, because they give us a steady diet of abstractions: heavy nouns and verbs which are really nouns with verb endings. If you have any good metaphors, and any good colloquial turns of speech, this is where they are most needed. If you can't write vividly, too bad; don't try to force it. One tendency of mediocre writers is to try to be extremely impersonal, never using the word "I".
Good style, on the contrary, is quite willing to say "I will come to this later It is foolish and clumsy to try to avoid personal pronouns when they are the most direct way of making your point. Over-formality is a mark of the semi-literate. Unfortunately, we find a lot of this among copy-editors and journal reviewers. Dealing with these kind of people is an occupational hazard. Go ahead and say what you have to say. If you need to write that way to get the flow of words on paper, okay, but come back at the end and cut out the unnecessary words.
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A related problem, common in abstract social science, is to write so as to avoid any active agent in one's sentences at all. Max Weber, by comparison, is structurally a much better writer, even when he is being very abstract. The difference between mediocre writing and good writing is often just taking the time when you are finished to go back over what you have written, and making corrections.
The question then is: do I need to make this point in different contexts? If so, OK. So I flag them all and make a list of where I said this; then figure out where is the best place to introduce it, and cut the others. Some very good writers I know are sloppy in this respect; but this kind of sloppiness can make it hard to get your stuff published. As your text gets sharper, it acquires more rhythm. It feels right. It's basically a matter of getting into the rhythm.
If you write every day, it's easier the next day. A lot of writers start off by going over what they wrote the previous day, or their outline, or reading something you want to argue with.