Category Archives: editing

zoom

A colleague today mentioned that her copyediting professor had said the Mazda “Zoom Zoom” slogan was incorrect because zoom implies upward motion, as with a plane or rocket.

Siiiiiggggghhhhhh.

I am not happy that someone who is teaching editing would insist on a false restriction such as this. Why do people zoom in on one specialized sense and take it as the whole picture?

Here is why that instructor thought this was a real restriction: in aircraft slang, as of 1917, to quote the Daily Mail (from the OED), “‘Zoom’..describes the action of an aeroplane which, while flying level, is hauled up abruptly and made to climb for a few moments at a dangerously sharp angle.”

So the instructor is right? No, of course not, for two reasons.

First, that is a specialized sense and not the original – the original sense, dating to 1892 at the latest, is, per OED, “To make a continuous low-pitched humming or buzzing sound; to travel or move (as if) with a ‘zooming’ sound; to move at speed, to hurry. Also loosely, to go hastily.”

And second, what matters is not how the word was used in 1917 or 1892; what matters is how the word has come to be used and generally accepted in the most recent decades. Usage determines meaning, and current usage – like much non-specialist usage for the past century – allows zoom to refer to speed more generally, as in the original definition, and certainly to automotive speed.

But oh, oh, oh, some people just have to, have to, have to come up with restrictions on language. They don’t want to see the big picture. In the field of meanings they look and discover an “original” sense or see some “technical” meaning, zoom in on that, and decide that that must be the true sense and all the others are wrong. The etymological fallacy runs rampant. Conversational trump cards. Learn a new rule, feel more superior – or anyway learn a new rule and have new mental furniture to structure your existence. (Many, perhaps most, people actually love rules and restrictions, even if they don’t always adhere to them. As Laurie Anderson sings, “Freedom is a scary thing. Not many people really want it.”)

But isn’t the specialized sense the more accurate sense? They’re specialists, after all!

No, that doesn’t make it more accurate. That makes it more of an exception. Look, in medical speech, indicated means ‘considered the appropriate treatment’ – as in “selective serotonin reuptake inhibitors are indicated in clinical depression,” which means “drugs such as Prozac are considered appropriate treatment for depression.” But in everyday speech, that’s not what we mean by indicated, and you’re not required to be talking of berrytherapy if you say “He indicated the berries on the table.” So with technical terms generally. This includes biological classifications. The botanical class called berries includes bananas, but in ordinary life bananas are not berries.

I’m put in mind of a guy I knew in university who said that Calgary wasn’t a city because it didn’t have a cathedral. He based that on the idea that in medieval times a city was a city if it had a cathedral. He was, of course, wrong for several reasons: Calgary has a cathedral; we are not in medieval times; the medieval definition of a city that he was calling forth was not the original definition nor in any way a reliable definition, and it certainly is not the current definition. In short, he needed to zoom out. And get with the times and the facts, too.

And then there’s the fellow – a former English teacher, yet – who disputed the semiotic use of the word icon to refer to something that signified by resemblance. An icon, he declared, is an Orthodox religious image, and any other use is an abuse! Ah, dear, dear, dear. The word icon comes from Greek for ‘image’, so if you want to talk about commandeering a word for a specialized sense, it would be the Orthodox usage that does so…

Zoom is a perfectly usable (even if currently somewhat commandeered by Mazda) word in relation to speed, especially engine-driven speed, and it has a nice taste to it. We can ask ourselves why “zoom” specifically. There are similar sound words, too, like va-va-voom and the vroom vroom of an engine. The sound a piston engine makes (and, more particularly, made a century ago) seems best matched with a voiced fricative to start with, but the depth of the roar can call forth the high mid-back vowel [u], and the sustain and echo of it can be represented by [m]. Compare zip – much quicker and less substantial. Compare it with other sounds such as “shing” – that would be a sword being unsheathed, not an engine, no? Perhaps “brrrr”? No, that could be an engine, but one that’s just holding steady. You really do get a sense of something moving rapidly past and into the distance with “zoom.” Even the movement of your mouth, with the tongue moving from front to back while the lips purse and then close, reinforces this.

Oh, and why do we “zoom in” and “zoom out”? There’s that rapid motion again. When camera lenses capable of quickly and smoothly changing focal length came in, the effect of the focal length shift from the viewer’s perspective was experienced – as it still is – as being like rapid motion towards or away from the subject. As zooming towards or away from the subject – into or out of the frame. So there’s another one for the rapid motion sense. Oh, and that’s a technical sense, too. It’s also been around for more than 60 years. So there. Now zoom out again.

Repainting birds

There’s been a discussing among some of my fellow editors in recent days about a word – the word complicitly – seen in a document. Should it be changed? But why? Well, it’s not in the dictionary. (“Which dictionary?” is of course another question.) But it fits in the sentence and there’s no problem understanding it. But it’s not in the dictionary! Maybe we should rewrite the sentence to be safe. Etc.

The is the point where I sigh, roll my eyes, and tell a little story.

A guy painting pictures and feeding the birds in a park sees a bird land near him and come up for some food. He doesn’t normally see birds that look like this one. He looks in his field guide to birds and it’s not in there. There’s one that looks like it but has yellow streaks on its wings. So he paints yellow streaks on the bird’s wings before feeding it. Of course, now the bird is going to have some social and aerodynamic problems, but at least it’s a real bird now.

I trust you see what I’m getting at.

Dictionaries are like field guides. They’re not legislation. They tell you what you can see in the wild, but they’re not always exhaustive, and they lag behind reality. We’re editing. We do what we do to enable and enhance communicative effectiveness. We’re not repainting birds.

any more, anymore

Dear word sommelier: When should I use “any more,” and when should I use “anymore”?

If you’re not Canadian or American, you can pretty much avoid this issue and use any more everywhere. But in Canada and the US, we have a merged form, anymore, that has taken on one specific sense and left the others to the old two-word version.

First let’s start with the parts. They’re good old Germanic parts, not borrowed from anywhere else. They’re so old and basic that they have multiple uses. Any can be an adjective (Do you have any idea?) or a pronoun (I don’t have any), but it can also be an adverb, modifying an adjective, and that’s what it is in any more and anymore. More can be a noun (I want more) or an adjective (I want more food) or an adverb (Could you be more specific?). In any more, it can be any of them; in anymore, it’s an adverb.

There are three general areas of meaning that you can use any more in, and anymore is used for just the last one:

Quantity. I don’t want any more. I want fifty dollars, and not any more than that.

Degree. I don’t like this any more than you do. I couldn’t possibly love you any more [than I already do].

Time. I don’t want you anymore. I don’t find this stuff amusing anymore. Do you do it anymore?

You may notice that the examples all have one important thing in common: they’re all negative phrases or negative-option questions. Actually, you can use any more in a positive phrase: Any more than this and we’re in trouble. But in standard English, anymore is always in a negative phrase or a question with a negative option. Not anymore can be paraphrased as not any longer or as no more or no longer.

Note that I said standard English. There are areas where it’s not so uncommon to hear positive anymore in ordinary speech: Anymore, we hold the parties indoors. We can see that for these speakers it has moved out of its place in a whole limiting phrase and has become a synonym for these days or now: We don’t do that anymore > We don’t do that these days; These days we do this > Anymore, we do this. I am not endorsing this usage for standard written English, although I wouldn’t be surprised to see it more mainstream some decades hence. But you should know that it exists. At least for some speakers, anymore is not a one-valence word anymore.

When you are considering serving this word in a sentence, you should pay attention to the rhythm – it trips quickly, not quite as long as any longer but less staid than no more or no longer. It’s a more common and casual usage, too, and is less likely to be seen in formal documents, where you may see wording using phrases such as in previous years and until recent times and prior to the current situation and so forth. There are really many ways to describe the aspect of time, and some of them take quite a bit of time themselves. Probably the most formal – and obviously poetically referential – alternative to not anymore would be nevermore. To get a sense of the difference, imagine Poe writing, “Quoth the raven, ‘Not anymore.’”

Thanks to my colleagues in the Editors’ Association who brought up this issue and helped me clarify my thinking on it.

100% of these usages is wrong

I have just seen an infographic (heaven help us, yes, an infographic – generally now not actual charts but just text tarted up) with the following statements:

46% of all U.S. workers claims that they are less productive without coffee.

61% of the workers who need coffee to get through their day drinks 2 cups or more each day.

49% admits to needing coffee while on the job in the Northeast where the workday coffee ritual is the strongest.

Let’s ignore all the other issues in those sentences and just focus on the most egregious, unnatural usages: 49% of workers claims; 61% of the workers drinks; 49% admits. Ick. Just ick.

This is a classic overthink error. I see it mainly in newspapers and similar places where the writers are trying to enforce their understanding of “proper” grammar and are going against their normal speech instincts in doing so.

Percentages can apply to unitary or mass entities and they can apply to populations of entities. When you’re talking about mass or unitary entities, it’s right to use the singular: “50% of this cake is chocolate”; “50% of this collection is action figures.” Moreover, when you’re talking about average (or consistent) percentage of each individual in a set, you may use the singular, though it can sometimes be awkward to phrase it thus: “40% of her cupcakes is sugar.”

But when you’re talking about the portion of the individuals in a set of individual entities, percents are plural quantifiers. You don’t say “46% of the people here drinks coffee” unless somehow each employee has a body 46% of which (perhaps on average) drinks coffee and the other 54% of which abstains. Would you say “Half of the employees here drinks coffee”? How about “A lot of the people here drinks coffee”? Hey, a lot is singular, you know!

Which is just the point. A lot may be singular, and 46% may be a discrete quantity, but their effect on the nouns they describe is a plural quantification. Remember that a dozen is also a singular construction and a discrete quantity, and a hundred likewise, and yet you don’t invariably conjugate verbs in the singular after them: “A dozen people is coming over”? No. (But you can say “A dozen eggs sits in the basket” because you know that’s a carton.) You can say “A bunch of flowers sits by the window” because in that case a bunch is a unitary object; if you say “A bunch of people sit by the window” it means that the people may or may not be together as a unit, but there are a fair few of them in any event. (And “A bunch of people sits by the window” is an almost amusing image of a set of people so together in their grouping that they even sit as a single unit.)

It’s easy enough to see how people can get confused. Many of these things can take singular or plural depending on what are sometimes very fine nuances of meaning. I can say “100% of these usages is wrong” and mean that each usage is 100% wrong, and I can say “100% of these usages are wrong” and mean that every last one of them is wrong. But there are cases where your ear just screams: “46% of workers claims”?! No. Just no. A percentage of a population of individuals is a plural.

And really, if your analysis of grammar leads you to write something that sounds staggeringly wrong, stop and reconsider your analysis.

What’s including what?

A colleague was wondering about a sentence of the type “Borgop Company’s commitment to environmental responsibility is wide-ranging, including [assorted things].” It didn’t sound quite right to her but she couldn’t put her finger on the reason.

My take is that it’s because a set of things “including” specified things is a plural, whereas commitment is a mass object. If it were a collective, it would work:

Margaret’s doll collection is wide-ranging, including seventeen from China, eighty-six from Scotland, and at least two from Las Vegas.

And as a plural it would work (though it might seem to suggest that the individual objects travel a lot):

Margaret’s dolls are wide-ranging, including seventeen from China, eighty-six from Scotland, and at least two from Las Vegas.

But as a mass object, and an abstract at that, it’s problematic:

Margaret’s interest in dolls is wide-ranging, including seventeen from China, eighty-six from Scotland, and at least two from Las Vegas.

Also, some people might find it odd to say a commitment is wide-ranging.

A grave case of synonym-itis

Some writers go to great lengths to find synonyms for things or acts that they have to refer to repeatedly in a story. They seem to have the idea that this adds flavour and depth and style to their writing. Actually, it tends to add a thick layer of BS and to demonstrate quite clearly why supposed synonyms are not necessarily fungible.

Newspaper writers have an especially bad reputation for this. Every fall newspapers are littered with references to “orange gourds” because the authors think there’s something wrong with saying pumpkin more than once. Articles on dining will have the oddest things being “munched”: Pancakes? Spaghetti?

But today I have encountered a really particularly bad case of this lexical disfigurement.  Bob Greene, CNN Correspondent, bestselling author of 25 books, who therefore really ought to know better, has presented a piece called “Why ‘Hail to the Chief’ remains unsung” that in other respects is not terrible (it’s not great; its central point is rather questionable) but in its use of synonyms for sing is in a grave condition indeed.

He’s talking about politicians singing together at the presidential inauguration. It doesn’t start out so badly. He first says they “blend their voices for certain time-honored lyrics.” OK, fine.  He then comes to “Hail to the Chief,” which is normally played by a brass band and not sung, even though it has a rather good set of words (his thesis is that because the words speak of unity in approval of the presidential choice, opposing politicians wouldn’t want to sing it). He manages a reasonable, not inaccurate “it would be unrealistic to assume that members of the party out of power would want to enthusiastically belt them out.” Sure, “belting out” the lyrics to that song – easy to picture. And after that his next synonym is “ardently vocalize,” which at least presents the same picture.

So try to reconcile that with his next synonym: “they possess the potential for some pretty awkward moments of public crooning.”

“Public crooning”?! What?! Crooning is a style of singing. It is a style very unlike what he has just described, very unlike what you would expect at the occasion, and really quite unlike what you would probably expect from any group of assembled people singing patriotic songs.

His next inelegant variation is “Try to picture, during the administration of George W. Bush, the trio of Harry Reid, Nancy Pelosi and then-Sen. Barack Obama raising their voices in song to warble in Bush’s direction…” Warble? Um, OK, if you have to. But really? You don’t have to.

And in the next paragraph it’s “the sight and sound of Newt Gingrich, Bob Dole and Trent Lott harmonizing…” Leaving aside the question of whether you see them harmonizing, I think it honestly unlikely that you would hear them harmonizing; dollars to doughnuts they would all be singing the same melody line.

OK, OK, you don’t just want to say “sing” over and over and over. Fine. Your central thesis is a little weak and you feel you need to reinforce the point with repeated imagery. And the English language is rich with different ways to say more or less the same thing. But try to stick with the more, not the less, OK? And maybe ask yourself, next time you talk about people “crooning” a loud song (or “murmuring” a military order, which I’ve also seen), whether you aren’t trying to get your thesaurus to do work your thesis should be doing.

One of the best poem

Here’s another poem from Songs of Love and Grammar, which I present today to fix in mind a problem construction often encountered.

The one

I’m dating a girl who likes moderation
but sometimes praises without reservation.
She has a cute way to show you your place:
she starts off partway, then slips you the ace.

I cooked her some dinner on our first date.
“That’s one of the best meal I ever ate!”
She said that. One best! A class of one!
Such flattery! And we’d just begun.

We went to a movie – the choice was clear:
“It’s one of the best film of the year,”
she said. “On that, the critics agree.”
(They’d all gone for this one? That’s news to me!)

As we walked back, the weather was just sublime:
“It’s one of the nicest night in quite a time.”
It was clear in all that she had to say
that she wanted to take things all the way.

At evening’s end, she gave me my throne:
“one of the best lover I’ve ever known.”
“Lover,” not “lovers” – now, how do you do:
on the list of the best, there’s no number two!

It looks like the matter is when, not whether,
we’ll be vowing to share the future together.
Her level of commitment is plain to see:
“You’re one of the only guy for me.”

This one is similar to the false concord issue, and it’s a very common
thing to see. The analytically “correct” way to put something like this – and the way that seems more natural to at least some of us – is to say, for instance, one of the best lovers. That is, there’s a set of people who are the best lovers, and the person in question is one of them. And, indeed, even people who would say or write one of the best lover would, I think, write one of them rather than one of him for short. But because the subject of the sentence is singular, and we have one as well, there’s a certain magnetism of singularity, shall we say. The speaker stays focused on the one person and uses one of the best as though it were a one-of-the-best or a top-quality to modify lover. Frankly, I’d still rather use the plural there – it just makes more sense to me.

Not that many of us are necessarily all that used to hearing the phrase in the
first place.

Make sure to visit Lulu.com to buy Songs of Love and Grammar for the word nerds in your life!

Hyphe-nation? Hyphen-ation?

Several years ago I was working on a newsletter that had French and English versions. Our client contact spoke English but was a native Francophone. She complained that the hyphenation in the English was wrong.

Now, I was laying this newsletter out in InDesign, using its automatic hyphenation. It has a thorough hyphenation dictionary. I am a very, very fluent native Anglophone. I knew the hyphenation was right. But she was quite certain that it was not.

What did she think was wrong with it? Well, you see, it’s this: not everyone who speaks English realizes it, but we, like the French and speakers of many other languages, will as a habit say a consonant at the beginning of a syllable rather than at the end of the previous one if we can. For instance, we actually say the word breaking as [bɹe kɪŋ] (like “bray king”). Of course, there are some consonant pairs we won’t put together at the start of a syllable; we don’t say “da-mnation,” for example. Now, as it happens, in French, hyphenation occurs between syllables as they are actually said. By this rule, you would hyphenate at brea-king. That’s what she wanted

Does that look a little off? Would you say it should be break-ing? You’d be right.

In English, we have two different ways of hyphenating. In the British style, we aim to break at morpheme boundaries. What that means is that if a word is made up of a root and some prefixes and/or suffixes, you break at the boundary between the parts. So when you have break plus ing you break between them. And when you have hyphen plus ation you break it as hyphen-ation even though you actually say it like hyphe-nation.

We break those two words the same by the American system, but for a different reason. There is another very important fact in English that affects not just how we hyphenate words but how we read them and think of them generally. When you read a word, the quality of the vowel can be affected by the consonants, if any, that come after it – so we break at bus-ing rather than bu-sing – and the quality of a consonant can be affected by the vowels or consonants that come after it, so we will hyphenate Angli-cism rather than Anglic-ism because that c would look like a [k] sound. The American approach aims to make sure that when you read the first part of a word before the line break, you don’t have to rethink it once you see the second part. So it has to look as though it sounds like it actually does sound.

We just don’t write words exactly as they sound. English spelling is so perverse as to be almost ideographic at times. We have to recognize whole syllables or even whole morphemes, like break and breaking (as opposed to bread and breading, for instance – you only know what the vowel sound is when you see the letter after it). This results in some further traditions that couldn’t possibly make any sense from a strictly phonetic perspective.

Take a word like hotter. We actually say it with the /t/ at the beginning of the second syllable. But we have to think of the first syllable as ending with a consonant. If we spelled it as hoter, that would mean the syllables were ho ter, and that would make the o into a “long” o. So we write it with a double t to make it clear that the first syllable is a closed syllable, meaning its vowel is “short” – even though the syllable isn’t actually closed when you say it. It’s how you think you’re saying it that matters. Welcome to the wonderful world of phonemics!

But we also don’t break it as hott-er. As everyone learns in elementary school, we split it between the double letters: hot-ter. Never mind that there is no second [t] sound; that extra t isn’t part of the first syllable. But it’s not that we always break up consonant letters when the second one is unspoken: it’s dumb-er and smack-ing, not dum-ber (which could read as though you say the [b]) and smac-king.

There’s actually a little more to all this even than what I’ve already said. A favourite “gotcha!” in intro linguistics courses is to ask students where the syllable break is in Christmas. Now, we know right away that we don’t actually say a [t] in there. But we also know it’s a compound with a clearly identifiable first part, Christ, and we know that we would never start a syllable with [stm], so not only would we always hyphenate it as Christ-mas, it just makes sense that we must actually be breaking the syllable right before the [m]. Otherwise the i might stand for a different sound, as it would in an open syllable.

But nope! Gotcha, says the professor: the real break is [krɪ sməs] – that is, “Chri-s’mas.”

Except… Try this. Shout “Clover!” emphasizing each syllable, as though to a person hard of hearing and some distance away or in a noisy club. You hear what you do: “Clo! Ver!” OK, now try “Christmas!”

Is it “Chris! Mas!” or is it “Chri! Smas!”? Or is it more like “Chri! ss, Mas!”? Your results may vary, but for at least some people the [s] will fall squarely in the middle, a phenomenon called ambisyllabicity – something not all linguists agree exists. Try some other words such as breaking and dumber and hotter and see where you put the consonant in the middle. The natural tendency is for it to attach to the following syllable, but we think of it as part of the previous syllable, and it affects how we pronounce the word too, so it may not entirely let go of the previous syllable.

In English, we just don’t read one letter at a time. We just can’t! Consider the effect of breaking according to when we actually start saying the next syllable, separating vowels or consonants from the consonants that affect them:

En-
glish

sy-
llable

mi-
ddle

ho-
pping

assi-
stant

ma-
king

ma-
sking

regre-
ttable

and so on.

How did I resolve the issue with the newsletter? I just turned off hyphenation, which made the right edge of the text more ragged (don’t do it if you have full-justified text, especially in narrow columns) but quite readable and not susceptible to imposition of inappropriate hyphenation standards.

biannual

To the eyes, this word brings a repeated duality expressed in multiple ways: there are two each of two letters; it is bookended by two vertical lines coming from two different characters; the u is a rotation of the n before it; and the one letter not part of any other duality is made of two detached parts: i, with its stroke and its dot – a point and an extent.

In saying the word, you make four syllables; the middle two are attached to their preceders with a high front glide, while the first and last start with the lips – as a stop or as releasing from rounding. The vowels are low and forward first, but then in the back half of the word move to high back and then to a neutral step into a held “dark” /l/ with the tongue high at back. The word starts towards the front of the mouth but ends pulled back.

The central consonant is written with two letters but is at most a quick touch with an off-glide, and for many speakers in many instances is really just a nasalization of the glide it releases – the tongue may or may not fully touch. And yet it is heard as the same sound whether it is made with the tip of the tongue curling up and touching or with the blade of the tongue simply pressing up and forward while the tip stays down.

That curvy, contorting /bajænjuwəl/ pronunciation has come about because of how English vowels have shifted over the centuries and how we’ve come to pronounce Latin words generally. Were the word said the Latin way, it would be /biannual/ – just as it’s spelled, but to English ears more like “be on new wall.”

Except that the Latin word wouldn’t be biannual at all. This word may be made from Latin parts, but it wasn’t assembled from them until the later 1800s. The Latin word for a period of two years was (is) biennium, which lends to the word biennial, “every two years”. One might imagine that something that happens every half a year is semiennial (and every year and a half sesquiennial), but those words aren’t to be found.

The sense of this word is, as we all know too well, also dual. Its use to mean “every two years” dates from 1884 or earlier. Its used to mean “half-yearly” (every six months) dates from 1870 or earlier. Dictionaries list the two senses next to each other. So which is the correct meaning? It seems that there is no reliable verdict, and the court of common usage is divided. It’s just the same with other words, such as bimonthly and the perhaps even more bothersome biweeklyall these bi- usages appear to have come forth in the latter half of the 1800s. I recommend avoiding using these words, preferring clearer phrases such as every two years and every six months – unless you want to be ambiguous.

Are you deranged?

As people who read Sesquiotica know, I’m not in the business of coming up with inflexible rules for people to slave under. But I am in the business of making observations and occasional suggestions. And sometimes asking questions.

Well, today I have a question for you: Are you deranged?

Actually, that would be better put as Is your prose deranged?

Here’s what I’m getting at. How do you normally express a range in English? You know, from 1 to 20 or from ultraviolet to infrared?

The way I just did, naturally: from…to.

And when people write ad or marketing or expository copy wanting to talk about all the options available in this or that place or from this or that person or business, they very often like to use this form to give a sense of a full range. In fact, two items often don’t suffice to express the ambit of offerings: you’ll get

from Iqaluit to Toronto and from Victoria to St. John’s

or you’ll get

from drama and dance to engineering and physics

and sometimes you’ll even get a string of to‘s.

But what you much too often will not get is an actual range. The from…to construction is grabbed as a convenient way to convey the idea of a a diverse offering, like a sweep of the arms. But too often it lacks clarity, it lacks sharpness, it lacks punch, because it doesn’t express a real range. It’s de-ranged.

Consider a sentence such as

From its beautiful waterfront to its exciting dining options to its lively theatre scene to its lush parks, Toronto has a lot to offer.

Diagram that out if you can. Does that really express a contrast between endpoints or extremes? It’s four different things, but it’s not like

from Bonavista to Vancouver Island, from the Arctic Circle to the great lake waters

It’s more like

from your elbow to a poodle to your nose to pineapples

As I’ve discussed elsewhere (“Sharpening and vowel shifts” and “chiaroscuro“), contrasts appeal. Make a strong statement. Give it some flavour if you can. Go for something like

From Napoleons to beef Wellington, if it has pastry, we make it.

If you don’t have a sharp contrast, don’t pretend you do. But you can probably find one if you look – rather than just being lazy and relying on a usage that seems to suggest contrast. You’ll get more contrast from

Treat yourself to our one-inch micro-whoopie pie. Or to our twenty-inch monster cake. Or maybe just a nice warm muffin.

than you will from

From cookies to cakes to muffins, we have the full complement of baked goods.

This isn’t a rule; this is advice: don’t be de-ranged. Don’t be lazy or sloppy. Don’t rely on clichéd syntax. Stop for a moment and think about the truly vivid images available. You’ll produce much better results if you do.