October 6, 2025 • 18 mins
Offers practical advice and rules for improving writing and speaking skills. It covers a broad spectrum of English language topics, including parts of speech, spelling and formatting, sentence structure, verbs, nouns, abbreviations, pronouns, adjectives, adverbs, prepositions, conjunctions, interjections, and punctuation. The author, a seasoned lexicographer, emphasizes that effective communication is key, often prioritizing clarity and understanding over rigid adherence to antiquated rules. The book serves as a resource for diverse learners, from students to professionals, by addressing frequently asked questions and common mistakes. It also includes disclaimers about the accuracy and completeness of content, advising readers to seek professional assistance when necessary.
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You can listen and download our episodes for free on more than 10 different platforms:
https://linktr.ee/book_shelter
Get the Book now from Amazon:
https://www.amazon.com/Perfect-English-Grammar-Indispensable-Excellent/dp/1623157145?&linkCode=ll1&tag=cvthunderx-20&linkId=dfc6c53a29bf7fd9f7c400368cd12623&language=en_US&ref_=as_li_ss_tl
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Welcome to the deep dive, where we slice through information
overload to bring you the crucial insights you need to
be truly well informed. Today, we're tackling a question that, well,
it's probably crossed every writer's mind. Where do you actually
learn how to write? Well, We're taking a deep dive
into an indispensable guide, Grant Barrett's Perfect English Grammar, The
Indispensable Guide to Excellent Writing. What immediately struck me in
(00:22):
Barrett's introduction was his own journey. He wasn't born a
grammar guru, you know. Growing up in rural Missouri, education
was mostly left to the schools. He read constantly, did
well in composition, sure, but it wasn't until college that
he faced a crucial realization his writing needed a higher
level of attention. That's how we put it. Professors left
hombling remarks, Newspaper editors cut his wordiness. This personal struggle
(00:45):
really propelled him, didn't it, to become a lexicographer and
later a public radio host, driven by this belief that
targeted help could transform communication.
Speaker 2 (00:53):
Yeah, his journey is absolutely central to the book's mission.
He isn't writing for fellow academics. He's crafted this guide
for everyone, from junior high students grampling with essays all
the way to business professionals needing to articulate complex ideas. Clearly,
the goal isn't just listing rules. It's about addressing those
frequently asked questions, sharing those eye openers that were pivotal
(01:16):
in his own development. And a crucial distinction he makes
this isn't all of English grammar, not by a long shot.
It's a carefully curated selection, like a practical companion, designed
to help you express precisely what.
Speaker 1 (01:28):
You mean exactly. And our mission today is kind of
to uncover the story of this guide. Not a fictional narrative, obviously,
but the logical progression a writer follows to master English.
Will trace that path from foundational principles right through to
the nuanced elements of style building skills, layer by layer,
just as Barrett's book leads us. Okay, so let's unpack this.
Imagine we're embarking on a guided tour through the landscape
(01:50):
of English grammar, starting right at the very foundations.
Speaker 2 (01:54):
Well, the book opens with what I've found to be
a profoundly liberating philosophy. Perfect grammar or isn't some rigid,
absolute standard, it's more a continuous effort towards perfect communication
and that inherently acknowledges subjectivity. Right, these are presented as
grammar guidelines, not unassailable loss. Barrett even encourages critical thinking
(02:15):
about when and how to challenge them. He reminds us
that slavishly following every single rule can actually hinder clear communications.
Sometimes it's about understanding the rules so you can use
them effectively, or even break them intentionally for impact.
Speaker 1 (02:29):
That immediately reframes the challenge, doesn't it. It shifts it from
fear to well confidence and from those foundational principles. One
powerful idea he emphasizes is the importance of consistency. Whether
it's your style, verb, tense, or narrative person pick one
and stick with it throughout your project. Hopping around just
creates a jarring experience for your reader. He also stresses
(02:49):
the need to write for your audience, not just for yourself,
tailor your language for their clarity and understanding it. Avoid
those writerly tricks that might distract, especially early on, and.
Speaker 2 (02:59):
That's where developing what he calls speaker's intuition comes in.
He argues that true mastery isn't just about memorizing rules.
It's about immersing yourself in the language, reading and listening
to material just a little above your current level until
you develop that natural understanding of what feels right in English.
This daily habit transforms theoretical knowledge into practical, instinctive command that.
Speaker 1 (03:21):
Makes perfect sense. So once we have those guiding principles,
we move to the actual construction of writing. Barrett introduces
the idea with a brilliant analogy. Think of words as
bricks and boards, sentences as walls and windows, paragraphs as
houses and essays, stories and articles as neighborhoods. He stresses
that writing isn't some magical talent, it's a learned process.
(03:41):
It requires planning, revising, and crucially editing right.
Speaker 2 (03:45):
And when it comes to getting started, that terrifying blank
page bear it. Offer some really practical strategies. Instead of
just staring at an empty document, try building a structure first,
maybe an outline or even a spreadsheet just to sketch
out your ideas, or simply just write anything to break
that psychological barrier get some words down. He even suggests
(04:06):
starting at the end and working backward or jumping to
the fun part first to get momentum, and here's a
fascinating insight. He mentions Hunter S. Thompson, who'd famously cut
and rearrange factes of his stories on the floor. Treating
editing like a puzzle. It's a great reminder that writing
is often about creative assembly, not just linear creation.
Speaker 1 (04:23):
That puzzle solving approach really resonates. I like that, after
getting started, the humble paragraph structure becomes our foundation. He
explains the three parts of a formal paragraph, the topic
sentence usually first broad then the body, supporting sentences with descriptions, data, quotes, examples,
and finally the conclusion, which summarizes or offers observations. He
(04:45):
uses literary examples like Kenneth Graham's The Wind in the
Willows and Hemingway's The Sun Also Rises to show this
structure and action.
Speaker 2 (04:52):
And what's truly insightful in those examples is how Barrett
addresses common rules, like the old chestnut about not starting
a sentence with a conject function. Graham does use butt
to open a sentence. Barrett notes that skilled writers break
rules sparingly for impact. Beginners, on the other hand, often
misuse them. The takeaway seems to be understand the rules
intimately before you decide to ben them.
Speaker 1 (05:14):
Okay, So, building on the paragraph, the five paragraph essay
is presented as sort of an elaborate form of the structure,
a staple in many educational settings.
Speaker 2 (05:22):
Right.
Speaker 1 (05:23):
It progresses from an introduction with a clear thesis, through
three body paragraphs, each focusing on a single argument, to
a conclusion that rephrases the purpose and asserts its importance.
And a key piece of advice he gives avoid those
trite endings or concluding with a question. Be assertive.
Speaker 2 (05:41):
This all naturally leads to editing, which Barrett says is
really about why we make mistakes in the first place.
We stare at our text too long, basically, and our
brains just fill in the gaps, smooth over the airs.
His advice put your writing aside for a bit, change
the type facer size to defamiliarize the text, make those
errors jump out at you, and he urges us to
kill your darlings. Be ruthless with your own writing, even
(06:03):
the parts you think are brilliant if they don't serve
the larger goal.
Speaker 1 (06:06):
Kill your darlings. That's a tough but essential truth, and
the non negotiable step he emphasizes what's that.
Speaker 2 (06:12):
Always always get an outside editor or reader. As he
puts it, plainly, everybody needs an editor. Even for this
book he had an editor. It's a humbling reminder, but
it's absolutely essential for clear communication.
Speaker 1 (06:26):
Okay, So here's where it gets really interesting. I think
we move from the architecture of writing to the very
dna of language. The parts of speech nouns, verbs, adjectives, adverbs.
The categories are pretty well known, but Barrett highlights a
key insight. These boundaries are well fluid.
Speaker 2 (06:43):
Exactly. What's fascinating is that a words part of speech
isn't always fixed. It can change depending on how it's used.
Nouns can behave like adjectives, verbs can act like nouns.
It's not static, it's dynamic. This flexibility as immense richness
to English. But yeah, it also has complexity for new
writers trying to pin things down.
Speaker 1 (07:01):
And if that flexibility makes you nervous, spelling and formatting
Chapter four might feel like a bit of a minefield.
Barrett readily admits English spelling is a mess. You know,
it's a jumble of history. This constant mismatch between how
words are spelled and how they're actually pronounced.
Speaker 2 (07:15):
Yeah, it's tough. To help you navigate this, he offers
practical tips beyond just rote memorization. He suggests reading challenging
material like Maybe New Scientists to increase your exposure to
unfamiliar words. My favorite tip, though, write problem words into
crazy stories and spell them aloud for mnemonic connections. Think Kazoo,
the Time Traveling Wondercad, s U b jsug A t Ed,
(07:39):
the Poor Puppy Planet. Yeah, it sounds silly, but it
creates a memorable link.
Speaker 1 (07:43):
I love those crazy stories. That's brilliant. He also tackles
common spelling errors. A big one is homophones, words that
sound alike but are spelled differently. Mastering distinctions like accept
accept effect, effect, it sits, and they're theirware, Well, it
really comes down to understanding their specific meaning and context.
For it's versus it's, he gives a simple task, can
you substitute it is or it has. If yes, use
the apostrophe it's If not, it's it's right.
Speaker 2 (08:05):
And he even debunks that famous I before E except
after C rule, says it's largely unreliable because there are
just too many exceptions. Better to just memorize the tricky ones.
For suffixes, he reminds us that the final e often
drops before a vowel suffix change becomes changing, but usually
stays before a consonant supfix change becomes changes. Little rules
(08:26):
like that help.
Speaker 1 (08:27):
Then there are contractions. Barrett firmly states that insisting on
avoiding them makes writing stilted and unnatural. It just doesn't
sound like real speech. While cautioning against overuse, you don't
want chains of them, he clarifies common distinctions like it's
versus id and lets versus lets, and for those curious
about regional variants, he notes y'all as a legitimate, widely
(08:48):
used contraction in the American South, though yeah you or
you all are probably preferred informal writing.
Speaker 2 (08:54):
At a really crucial point, apostrophes. In the section on
common possessive mistakes, he stresses this, an apostrophe never makes
a word plural. Ever, it only indicates possession, like the
dog's bone, or a contraction. It's raining and possessive pronouns
like hers or it's never ever taken apostracy. This is
such a common trip up.
Speaker 1 (09:13):
Okay, let's quickly navigate dates. He highlights the difference between
the US month day year format versus the day month
year used in most of the rest of the world,
and for US dates don't forget those commas after the
day and after the year, like July fourth, seventeen seventy six,
when it's in the middle of a sentence. So how
do we build those precise walls and windows of our writing.
This brings us to sentence structure, the assembly line of language,
(09:36):
where we meet subjects, predicates, objects, and clauses.
Speaker 2 (09:38):
Yeah, and subject verb agreement is a core concept here.
Singular subjects take singular verbs, plural subjects take plural verbs.
Sounds simple, right, but specific cases like either and neither goal,
your sentences can be tricky. The rule is the verb
agrees with the subject nearest to it, so neither the
cats nor the dog is.
Speaker 1 (09:56):
Happy, good example. He also clarifies claw independent clauses. They
can stand alone a complete thought, but dependent clauses contain
an unfinished idea. They need an independent clause to make sense.
Understanding this difference is key to building more complex and
nuanced sentences, moving beyond just simple statements.
Speaker 2 (10:17):
Okay, so if structure is the skeleton verbs, Chapter six
are definitely the engine the action, feeling, or state of
being in a sentence.
Speaker 1 (10:25):
Absolutely, and a key area for most writers I think
is tense consistency. He advises against that sort of stream
of consciousness messiness you sometimes see written language, demands more
deliberate structure. He outlines when tense changes are appropriate, like
when reporting past events while discussing their present relevance, or
obviously in dialogue. He also tackles voice active versus passive.
(10:45):
While passive voice often gets a bad rap, Barrett addresses
the myth that it's always bad. He explains its essential uses,
like when the subject is unknown, the window was broken
or unimportant, or even controversially to deflect responsibility, think mistakes
were made. It's about choosing the right tool for the job,
not just blindly following a simplistic rule.
Speaker 2 (11:05):
Definitely, and one of the most confusing pairs in English
has got to be lay versus lie. Barrett lays it
out really clearly. To lae means to recline. It's intransitive,
it doesn't take an object. The past tense is lay.
So today I lie down, yesterday I lay down. To
lay means to put something down. It's transitive. It needs
an object. The past tense is laid. So today I
lay the book down, Yesterday I lay the book down.
(11:27):
Keeping those straight is vital.
Speaker 1 (11:29):
Okay. Moving on to nouns in chapter eight, Barrett clarifies
the tricky world of collective nouns, those words for groups
like army, or team or committee. US English typically treats
them as singular the team is winning, but UK English
often treats them as plural if the members are acting individually,
the committee are arguing. It's a subtle difference. He also
(11:50):
shines a light on nouns into verbs that morphological magic
where words like friend or gift or phone become verbs
to friend someone, to gift something. He assures us it's
a natural evolution of the language, despite some grammarians peeves
about it.
Speaker 2 (12:04):
Language changes right, and when it comes to articles that
section on definite and indefinite articles, the versus ESOLCN is
key rereber to use a or n based on the
sound of the very next word, not just the letter
it starts with. So it's an FBI investigation because FBI
starts with a vowel sound f but a European hotel
because European starts with a consonant sound. He even tackles
(12:25):
the whole and historic versus a historic debate, noting that
the common North American pronunciation starts historic with an eight sound,
so it usually takes a good point.
Speaker 1 (12:33):
Next up, Pronouns, chapter ten, those helpful words that replace
nouns to avoid repetition. A common mistake Hey highlights is
using subject pronouns as objects, like saying me and my
sister went instead that technically correct my sister and I went, though,
you know, context matters and speech.
Speaker 2 (12:52):
Yeah, And this raise is a really important question for
modern writing. Pronouns and indeterminate gender. How do you handle
when you don't know someone's gender or you're talking generally?
He advocates strongly for using singular they them, as in
a good scientist will always reveal their sources. It's widely
accepted now. He advises against the clunky he or she,
(13:13):
or the old fashioned, often sexist default. He singular they
is the way to go for inclusive language.
Speaker 1 (13:19):
Let's briefly touch on adjectives in chapter eleven. What's fascinating
here is the innate adjective order we subconsciously follow. In English.
It usually goes something like number, quality, size, temperature, shape, color,
origin material. That's why we naturally say little red wagon
instead of red little wagon. It just sounds wrong the
other way. It reveals this hidden logic of the language.
Speaker 2 (13:37):
It really does. And for adverbs, chapter twelve, he tackles
a pervasive myth, the idea that adverbs are inherently bad
and should always be avoided. Barrett states, clearly, there's nothing
intrinsically wrong with adverbs. The problem isn't their existence, but
they're over use or redundancy, like saying saying musically just
say saying. He doudges us towards finding stronger verbs, or
(13:59):
using emals and metaphors instead of just propping up weak
verbs with lots of sellingly words. He also discusses sentence
adverbs like hopefully. He notes it is grammatically correct to
say hopefully it won't rain, but advises caution in very
formal writing, just because some people still object to it
and you don't want to distract your.
Speaker 1 (14:16):
Reader, right, know your audience again. Finally, we arrive at
the traffic signals of text punctuation. In chapter sixteen, Barrett
explains that punctuation wasn't just arbitrary, it was introduced to
make the written word better reflect the rhythms and pauses
of the spoken word, separating ideas and adding clarity exactly.
Speaker 2 (14:34):
He breaks down the essential marks, but focuses on common
complexities people face for commas. He covers there many many roles,
separating independent clauses joined by a conjunction, setting off introductory elements,
handling non essential descriptions. He delves into the Oxford Comma
debate that comma before the and in a list like Red,
White and Blue. He acknowledges dialistic differences, but stresses consistency
(14:56):
within your own writing, and crucially he points out Comma
one comma mistakes like incorrectly separating a compound predicate urran
and jumped, or subject the dog and cat are friends.
Speaker 1 (15:08):
He also clarifies quotation marks, details the difference between US
and UK conventions for placing commas and periods generally inside
the quotes in the US outside in the UK. He
explains it's rooted in old typographic reasons, not necessarily pure logic.
He also advises against using quotes for sarcasm or emphasis.
Italics or bolding are usually better choices for that, and.
Speaker 2 (15:28):
Then in the more usage and style chapter, Barrett confronts
some of those common language pees and evolving norms people
argue about. For instance, he insists there should be just
one space after a period. Now, thanks to modern typography,
the two space rule is a relic of typewriters. He
clarifies the subtle difference between that versus which generally that
introduces restrictive clauses info essential to the meeting without commas,
(15:52):
while which introduces non restrictive clauses extra info usually set
off by commas. And in a nod to how language
changes is he notes that while traditionalists preferred by accident,
the phrase on accident is increasingly common and understandable, especially
in North America.
Speaker 1 (16:07):
He also zeros in on wordiness, what he calls flabby writing.
It often comes from patting things out, maybe disguising ignorance,
or sometimes it's just the easier route than being concise.
His strategies are clear, avoid repeating ideas, unnecessarily, cut excessive formality,
utilize instead of use, trim irrelevant details, and slash business
(16:28):
jargon or crutch phrases. It all circles back to the
power of ruthless editing, and finally, for that perennial English
problem of lacking a clear second person plural. He acknowledges
how y'all common in the selk us and you guys
common elsewhere fill that gap in informal speech, but advises
caution using them informal writing, use you or you all instead. Wow.
(16:49):
What a deep dive that was. We started with Grant
Barrett's own personal journey, his discovery of the nuances of English,
and we've now journeyed through the entire landscape of his
perfect English grammar, touching on foundational principles composition, sentence, structure
all the way to the subtle art of style. His
core message really comes through. I think grammar isn't just
a set of arbitrary rules to memorize and fear. It's
a framework, a powerful guide for finding your own unique voice.
(17:12):
It's about figuring out who you are, what you want
to say, who you want to say it to, and
how best to actually do that effectively exactly.
Speaker 2 (17:21):
It constantly reinforces that idea that perfection is subjective. These
aren't rigid rules to be afraid of breaking, their dynamic
guidelines for continuous improvement. It's about developing that crucial intuition
through consistent reading and listening, and ultimately knowing when and
how to challenge the rules for maximum impact to make
your writing clearer and more powerful.
Speaker 1 (17:42):
So what does this all mean for you listening right now? Well,
next time you write or speak, remember that every word
you choose, every common you place, is a step in
crafting your unique voice. It's not just about being correct
in some abstract sense. It's about being understood, being remembered,
and yeah, maybe even being a little bit revolutionary with
your language, just like those skilled writers who came before us,
(18:03):
who understood the rules well enough to bend them. Keep learning,
keep exploring, and let this deep dive be just the
beginning of your own indispensable guide to excellent communication.
Welcome to the deep dive, where we slice through information
overload to bring you the crucial insights you need to
be truly well informed. Today, we're tackling a question that, well,
it's probably crossed every writer's mind. Where do you actually
learn how to write? Well, We're taking a deep dive
into an indispensable guide, Grant Barrett's Perfect English Grammar, The
Indispensable Guide to Excellent Writing. What immediately struck me in
(00:22):
Barrett's introduction was his own journey. He wasn't born a
grammar guru, you know. Growing up in rural Missouri, education
was mostly left to the schools. He read constantly, did
well in composition, sure, but it wasn't until college that
he faced a crucial realization his writing needed a higher
level of attention. That's how we put it. Professors left
hombling remarks, Newspaper editors cut his wordiness. This personal struggle
(00:45):
really propelled him, didn't it, to become a lexicographer and
later a public radio host, driven by this belief that
targeted help could transform communication.
Speaker 2 (00:53):
Yeah, his journey is absolutely central to the book's mission.
He isn't writing for fellow academics. He's crafted this guide
for everyone, from junior high students grampling with essays all
the way to business professionals needing to articulate complex ideas. Clearly,
the goal isn't just listing rules. It's about addressing those
frequently asked questions, sharing those eye openers that were pivotal
(01:16):
in his own development. And a crucial distinction he makes
this isn't all of English grammar, not by a long shot.
It's a carefully curated selection, like a practical companion, designed
to help you express precisely what.
Speaker 1 (01:28):
You mean exactly. And our mission today is kind of
to uncover the story of this guide. Not a fictional narrative, obviously,
but the logical progression a writer follows to master English.
Will trace that path from foundational principles right through to
the nuanced elements of style building skills, layer by layer,
just as Barrett's book leads us. Okay, so let's unpack this.
Imagine we're embarking on a guided tour through the landscape
(01:50):
of English grammar, starting right at the very foundations.
Speaker 2 (01:54):
Well, the book opens with what I've found to be
a profoundly liberating philosophy. Perfect grammar or isn't some rigid,
absolute standard, it's more a continuous effort towards perfect communication
and that inherently acknowledges subjectivity. Right, these are presented as
grammar guidelines, not unassailable loss. Barrett even encourages critical thinking
(02:15):
about when and how to challenge them. He reminds us
that slavishly following every single rule can actually hinder clear communications.
Sometimes it's about understanding the rules so you can use
them effectively, or even break them intentionally for impact.
Speaker 1 (02:29):
That immediately reframes the challenge, doesn't it. It shifts it from
fear to well confidence and from those foundational principles. One
powerful idea he emphasizes is the importance of consistency. Whether
it's your style, verb, tense, or narrative person pick one
and stick with it throughout your project. Hopping around just
creates a jarring experience for your reader. He also stresses
(02:49):
the need to write for your audience, not just for yourself,
tailor your language for their clarity and understanding it. Avoid
those writerly tricks that might distract, especially early on, and.
Speaker 2 (02:59):
That's where developing what he calls speaker's intuition comes in.
He argues that true mastery isn't just about memorizing rules.
It's about immersing yourself in the language, reading and listening
to material just a little above your current level until
you develop that natural understanding of what feels right in English.
This daily habit transforms theoretical knowledge into practical, instinctive command that.
Speaker 1 (03:21):
Makes perfect sense. So once we have those guiding principles,
we move to the actual construction of writing. Barrett introduces
the idea with a brilliant analogy. Think of words as
bricks and boards, sentences as walls and windows, paragraphs as
houses and essays, stories and articles as neighborhoods. He stresses
that writing isn't some magical talent, it's a learned process.
(03:41):
It requires planning, revising, and crucially editing right.
Speaker 2 (03:45):
And when it comes to getting started, that terrifying blank
page bear it. Offer some really practical strategies. Instead of
just staring at an empty document, try building a structure first,
maybe an outline or even a spreadsheet just to sketch
out your ideas, or simply just write anything to break
that psychological barrier get some words down. He even suggests
(04:06):
starting at the end and working backward or jumping to
the fun part first to get momentum, and here's a
fascinating insight. He mentions Hunter S. Thompson, who'd famously cut
and rearrange factes of his stories on the floor. Treating
editing like a puzzle. It's a great reminder that writing
is often about creative assembly, not just linear creation.
Speaker 1 (04:23):
That puzzle solving approach really resonates. I like that, after
getting started, the humble paragraph structure becomes our foundation. He
explains the three parts of a formal paragraph, the topic
sentence usually first broad then the body, supporting sentences with descriptions, data, quotes, examples,
and finally the conclusion, which summarizes or offers observations. He
(04:45):
uses literary examples like Kenneth Graham's The Wind in the
Willows and Hemingway's The Sun Also Rises to show this
structure and action.
Speaker 2 (04:52):
And what's truly insightful in those examples is how Barrett
addresses common rules, like the old chestnut about not starting
a sentence with a conject function. Graham does use butt
to open a sentence. Barrett notes that skilled writers break
rules sparingly for impact. Beginners, on the other hand, often
misuse them. The takeaway seems to be understand the rules
intimately before you decide to ben them.
Speaker 1 (05:14):
Okay, So, building on the paragraph, the five paragraph essay
is presented as sort of an elaborate form of the structure,
a staple in many educational settings.
Speaker 2 (05:22):
Right.
Speaker 1 (05:23):
It progresses from an introduction with a clear thesis, through
three body paragraphs, each focusing on a single argument, to
a conclusion that rephrases the purpose and asserts its importance.
And a key piece of advice he gives avoid those
trite endings or concluding with a question. Be assertive.
Speaker 2 (05:41):
This all naturally leads to editing, which Barrett says is
really about why we make mistakes in the first place.
We stare at our text too long, basically, and our
brains just fill in the gaps, smooth over the airs.
His advice put your writing aside for a bit, change
the type facer size to defamiliarize the text, make those
errors jump out at you, and he urges us to
kill your darlings. Be ruthless with your own writing, even
(06:03):
the parts you think are brilliant if they don't serve
the larger goal.
Speaker 1 (06:06):
Kill your darlings. That's a tough but essential truth, and
the non negotiable step he emphasizes what's that.
Speaker 2 (06:12):
Always always get an outside editor or reader. As he
puts it, plainly, everybody needs an editor. Even for this
book he had an editor. It's a humbling reminder, but
it's absolutely essential for clear communication.
Speaker 1 (06:26):
Okay, So here's where it gets really interesting. I think
we move from the architecture of writing to the very
dna of language. The parts of speech nouns, verbs, adjectives, adverbs.
The categories are pretty well known, but Barrett highlights a
key insight. These boundaries are well fluid.
Speaker 2 (06:43):
Exactly. What's fascinating is that a words part of speech
isn't always fixed. It can change depending on how it's used.
Nouns can behave like adjectives, verbs can act like nouns.
It's not static, it's dynamic. This flexibility as immense richness
to English. But yeah, it also has complexity for new
writers trying to pin things down.
Speaker 1 (07:01):
And if that flexibility makes you nervous, spelling and formatting
Chapter four might feel like a bit of a minefield.
Barrett readily admits English spelling is a mess. You know,
it's a jumble of history. This constant mismatch between how
words are spelled and how they're actually pronounced.
Speaker 2 (07:15):
Yeah, it's tough. To help you navigate this, he offers
practical tips beyond just rote memorization. He suggests reading challenging
material like Maybe New Scientists to increase your exposure to
unfamiliar words. My favorite tip, though, write problem words into
crazy stories and spell them aloud for mnemonic connections. Think Kazoo,
the Time Traveling Wondercad, s U b jsug A t Ed,
(07:39):
the Poor Puppy Planet. Yeah, it sounds silly, but it
creates a memorable link.
Speaker 1 (07:43):
I love those crazy stories. That's brilliant. He also tackles
common spelling errors. A big one is homophones, words that
sound alike but are spelled differently. Mastering distinctions like accept
accept effect, effect, it sits, and they're theirware, Well, it
really comes down to understanding their specific meaning and context.
For it's versus it's, he gives a simple task, can
you substitute it is or it has. If yes, use
the apostrophe it's If not, it's it's right.
Speaker 2 (08:05):
And he even debunks that famous I before E except
after C rule, says it's largely unreliable because there are
just too many exceptions. Better to just memorize the tricky ones.
For suffixes, he reminds us that the final e often
drops before a vowel suffix change becomes changing, but usually
stays before a consonant supfix change becomes changes. Little rules
(08:26):
like that help.
Speaker 1 (08:27):
Then there are contractions. Barrett firmly states that insisting on
avoiding them makes writing stilted and unnatural. It just doesn't
sound like real speech. While cautioning against overuse, you don't
want chains of them, he clarifies common distinctions like it's
versus id and lets versus lets, and for those curious
about regional variants, he notes y'all as a legitimate, widely
(08:48):
used contraction in the American South, though yeah you or
you all are probably preferred informal writing.
Speaker 2 (08:54):
At a really crucial point, apostrophes. In the section on
common possessive mistakes, he stresses this, an apostrophe never makes
a word plural. Ever, it only indicates possession, like the
dog's bone, or a contraction. It's raining and possessive pronouns
like hers or it's never ever taken apostracy. This is
such a common trip up.
Speaker 1 (09:13):
Okay, let's quickly navigate dates. He highlights the difference between
the US month day year format versus the day month
year used in most of the rest of the world,
and for US dates don't forget those commas after the
day and after the year, like July fourth, seventeen seventy six,
when it's in the middle of a sentence. So how
do we build those precise walls and windows of our writing.
This brings us to sentence structure, the assembly line of language,
(09:36):
where we meet subjects, predicates, objects, and clauses.
Speaker 2 (09:38):
Yeah, and subject verb agreement is a core concept here.
Singular subjects take singular verbs, plural subjects take plural verbs.
Sounds simple, right, but specific cases like either and neither goal,
your sentences can be tricky. The rule is the verb
agrees with the subject nearest to it, so neither the
cats nor the dog is.
Speaker 1 (09:56):
Happy, good example. He also clarifies claw independent clauses. They
can stand alone a complete thought, but dependent clauses contain
an unfinished idea. They need an independent clause to make sense.
Understanding this difference is key to building more complex and
nuanced sentences, moving beyond just simple statements.
Speaker 2 (10:17):
Okay, so if structure is the skeleton verbs, Chapter six
are definitely the engine the action, feeling, or state of
being in a sentence.
Speaker 1 (10:25):
Absolutely, and a key area for most writers I think
is tense consistency. He advises against that sort of stream
of consciousness messiness you sometimes see written language, demands more
deliberate structure. He outlines when tense changes are appropriate, like
when reporting past events while discussing their present relevance, or
obviously in dialogue. He also tackles voice active versus passive.
(10:45):
While passive voice often gets a bad rap, Barrett addresses
the myth that it's always bad. He explains its essential uses,
like when the subject is unknown, the window was broken
or unimportant, or even controversially to deflect responsibility, think mistakes
were made. It's about choosing the right tool for the job,
not just blindly following a simplistic rule.
Speaker 2 (11:05):
Definitely, and one of the most confusing pairs in English
has got to be lay versus lie. Barrett lays it
out really clearly. To lae means to recline. It's intransitive,
it doesn't take an object. The past tense is lay.
So today I lie down, yesterday I lay down. To
lay means to put something down. It's transitive. It needs
an object. The past tense is laid. So today I
lay the book down, Yesterday I lay the book down.
(11:27):
Keeping those straight is vital.
Speaker 1 (11:29):
Okay. Moving on to nouns in chapter eight, Barrett clarifies
the tricky world of collective nouns, those words for groups
like army, or team or committee. US English typically treats
them as singular the team is winning, but UK English
often treats them as plural if the members are acting individually,
the committee are arguing. It's a subtle difference. He also
(11:50):
shines a light on nouns into verbs that morphological magic
where words like friend or gift or phone become verbs
to friend someone, to gift something. He assures us it's
a natural evolution of the language, despite some grammarians peeves
about it.
Speaker 2 (12:04):
Language changes right, and when it comes to articles that
section on definite and indefinite articles, the versus ESOLCN is
key rereber to use a or n based on the
sound of the very next word, not just the letter
it starts with. So it's an FBI investigation because FBI
starts with a vowel sound f but a European hotel
because European starts with a consonant sound. He even tackles
(12:25):
the whole and historic versus a historic debate, noting that
the common North American pronunciation starts historic with an eight sound,
so it usually takes a good point.
Speaker 1 (12:33):
Next up, Pronouns, chapter ten, those helpful words that replace
nouns to avoid repetition. A common mistake Hey highlights is
using subject pronouns as objects, like saying me and my
sister went instead that technically correct my sister and I went, though,
you know, context matters and speech.
Speaker 2 (12:52):
Yeah, And this raise is a really important question for
modern writing. Pronouns and indeterminate gender. How do you handle
when you don't know someone's gender or you're talking generally?
He advocates strongly for using singular they them, as in
a good scientist will always reveal their sources. It's widely
accepted now. He advises against the clunky he or she,
(13:13):
or the old fashioned, often sexist default. He singular they
is the way to go for inclusive language.
Speaker 1 (13:19):
Let's briefly touch on adjectives in chapter eleven. What's fascinating
here is the innate adjective order we subconsciously follow. In English.
It usually goes something like number, quality, size, temperature, shape, color,
origin material. That's why we naturally say little red wagon
instead of red little wagon. It just sounds wrong the
other way. It reveals this hidden logic of the language.
Speaker 2 (13:37):
It really does. And for adverbs, chapter twelve, he tackles
a pervasive myth, the idea that adverbs are inherently bad
and should always be avoided. Barrett states, clearly, there's nothing
intrinsically wrong with adverbs. The problem isn't their existence, but
they're over use or redundancy, like saying saying musically just
say saying. He doudges us towards finding stronger verbs, or
(13:59):
using emals and metaphors instead of just propping up weak
verbs with lots of sellingly words. He also discusses sentence
adverbs like hopefully. He notes it is grammatically correct to
say hopefully it won't rain, but advises caution in very
formal writing, just because some people still object to it
and you don't want to distract your.
Speaker 1 (14:16):
Reader, right, know your audience again. Finally, we arrive at
the traffic signals of text punctuation. In chapter sixteen, Barrett
explains that punctuation wasn't just arbitrary, it was introduced to
make the written word better reflect the rhythms and pauses
of the spoken word, separating ideas and adding clarity exactly.
Speaker 2 (14:34):
He breaks down the essential marks, but focuses on common
complexities people face for commas. He covers there many many roles,
separating independent clauses joined by a conjunction, setting off introductory elements,
handling non essential descriptions. He delves into the Oxford Comma
debate that comma before the and in a list like Red,
White and Blue. He acknowledges dialistic differences, but stresses consistency
(14:56):
within your own writing, and crucially he points out Comma
one comma mistakes like incorrectly separating a compound predicate urran
and jumped, or subject the dog and cat are friends.
Speaker 1 (15:08):
He also clarifies quotation marks, details the difference between US
and UK conventions for placing commas and periods generally inside
the quotes in the US outside in the UK. He
explains it's rooted in old typographic reasons, not necessarily pure logic.
He also advises against using quotes for sarcasm or emphasis.
Italics or bolding are usually better choices for that, and.
Speaker 2 (15:28):
Then in the more usage and style chapter, Barrett confronts
some of those common language pees and evolving norms people
argue about. For instance, he insists there should be just
one space after a period. Now, thanks to modern typography,
the two space rule is a relic of typewriters. He
clarifies the subtle difference between that versus which generally that
introduces restrictive clauses info essential to the meeting without commas,
(15:52):
while which introduces non restrictive clauses extra info usually set
off by commas. And in a nod to how language
changes is he notes that while traditionalists preferred by accident,
the phrase on accident is increasingly common and understandable, especially
in North America.
Speaker 1 (16:07):
He also zeros in on wordiness, what he calls flabby writing.
It often comes from patting things out, maybe disguising ignorance,
or sometimes it's just the easier route than being concise.
His strategies are clear, avoid repeating ideas, unnecessarily, cut excessive formality,
utilize instead of use, trim irrelevant details, and slash business
(16:28):
jargon or crutch phrases. It all circles back to the
power of ruthless editing, and finally, for that perennial English
problem of lacking a clear second person plural. He acknowledges
how y'all common in the selk us and you guys
common elsewhere fill that gap in informal speech, but advises
caution using them informal writing, use you or you all instead. Wow.
(16:49):
What a deep dive that was. We started with Grant
Barrett's own personal journey, his discovery of the nuances of English,
and we've now journeyed through the entire landscape of his
perfect English grammar, touching on foundational principles composition, sentence, structure
all the way to the subtle art of style. His
core message really comes through. I think grammar isn't just
a set of arbitrary rules to memorize and fear. It's
a framework, a powerful guide for finding your own unique voice.
(17:12):
It's about figuring out who you are, what you want
to say, who you want to say it to, and
how best to actually do that effectively exactly.
Speaker 2 (17:21):
It constantly reinforces that idea that perfection is subjective. These
aren't rigid rules to be afraid of breaking, their dynamic
guidelines for continuous improvement. It's about developing that crucial intuition
through consistent reading and listening, and ultimately knowing when and
how to challenge the rules for maximum impact to make
your writing clearer and more powerful.
Speaker 1 (17:42):
So what does this all mean for you listening right now? Well,
next time you write or speak, remember that every word
you choose, every common you place, is a step in
crafting your unique voice. It's not just about being correct
in some abstract sense. It's about being understood, being remembered,
and yeah, maybe even being a little bit revolutionary with
your language, just like those skilled writers who came before us,
(18:03):
who understood the rules well enough to bend them. Keep learning,
keep exploring, and let this deep dive be just the
beginning of your own indispensable guide to excellent communication.
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