I'm an economics professor who started teaching writing courses as a spare time activity when I discovered that our English faculty was doing such a poor job of it.

My writing class is directed at college undergrads and grad students. I tried a number of books, but settled on Williams and have been using it since the 2nd edition. I find that students can make an enormous improvement in their writing in just ten weeks.

If your goal is to learn the kind of writing that will help you explain a process, change someone's mind, or write the winning proposal, Williams is your man. Don't read it all in one session, and you must actually do the exercises.

Try a chapter a week. It works.

Charles Lave, University of California, Irvine

For people who are serious about improving their writing skills, this is an excellent how-to book. Prof. Williams does not dispense facile advice ("use the active voice") or mindless rules of usage and grammar ("don't split infinitives"). Instead, he teaches you, step by step, how to construct sentences and paragraphs that are clear, concise, coherent, even elegant. He explains in great detail the principles and techniques involved in achieving clarity, grace, and other attributes of good writing. And he illustrates these principles and techniques with many specific, telling examples. "Style" is not a quick read, but it is definitely worth the effort.

Most books on how to write better English are pretty near to useless. Many of them scare you into worrying that you might use "which" when you should use "that" (never mind that an extra "which" never caused any reader the smallest bit of confusion). Others demand that you strive for "clarity" or "brevity" or "coherence"--but then somehow never provide any useful advice on just how, exactly, to do so.

Joseph Williams's Style: Toward Clarity and Grace is an exception. It is the only truly useful book on English prose style that I have ever found. Even Strunk and White cannot compete with the quality of the advice that Williams gives. Perhaps more important, the advice that Williams gives can be used. As Williams puts it, his aim is to go "beyond platitudes." Advice like "'Be clear' is like telling me to 'Hit the ball squarely.' I know that. What I don't know is how to do it." Williams tells us how to do it.

Williams's advice is particularly useful because it is reader based. Most books on style are rule-based: follow these rules and you will be a good writer. Williams recognizes that clear writing is writing that makes the reader feel clear about what he or she is reading. This difference in orientation makes Williams's advice much more profound: he has a theory of why the rules are what they are (and what to do when the rules conflict) that books that focus on rules alone lack.

His advice starts at the level of the sentence. Williams believes that readers find sentences easy to read and understand when the logic of the thought follows the logic of the sentence: the subjects of sentences should be the actors, and the verbs of the sentence should be the crucial actions. The beginning of a sentence should look back and connect the reader with the ideas that have been mentioned before. The end of the sentence should look forward, and is the place to put new ideas and new information.

His advice continues at the level of the paragraph. The sentences that make up a paragraph should have consistent topics. New topics and new themes should be found at the end of a paragraph's introductory sentence (or sentences). Readers will find a paragraph to be coherent if it has one single articulate summary sentence, which is almost always found either at the end of the paragraph or as the last of the paragraph's introductory sentences.

His advice concludes with four chapters on being concise, on figuring out the appropriate length, on being elegant, and on using constructions that do not jar the reader. I think that these last four chapters are less successful than the other chapters of the book. They contain much sound advice. But the argument of the book becomes more diffuse. The first six chapters present and illustrate overarching organizing principles for achieving clarity, coherence, and cohesion. The last four chapters present long lists of things to try to do. (However, the fangs-bared attack on "pop grammarians" found in the last chapter is fun to read.)

So, gentle reader, if you want to become a better writer of English, go buy and work through this book. I, at least, have never found a better.

Strunk and White tell us to "omit needless words", and rely on taste to be our guide. The methodical Dr. Williams, viewing this as old-fashioned, sets out to define exactly what words are needless, and why, and how best to get rid of them. It's a worthy goal. Too bad the book stinks.

It's funny that Williams quotes H. L. Mencken's remark that most books about writing are badly written. He first quotes it, then goes on to prove it.

Normal humans from Planet Earth wouldn't say "stylistic infelicity" when they meant "bad writing". They wouldn't say "peripherally relevant" when they meant "closely related". And they wouldn't dream of saying "topicalize X", not even under torture, if what they wanted to say was "make X the topic of the sentence". (You read that right, the guy unashamedly says "topicalize".)

Want some idea of what you'll be getting yourself into? Check out this boner of a sentence, typical of the writing style of the whole book:

"But the object of our attention is writing whose success we measure not primarily by the pleasure we derive from it, but by how well it does a job of work."

Someone ought to tell this guy to omit needless words. The parallelism isn't parallel, the phrase "of our attention" is pointless, the phrase "whose success we measure" is awkward, and that "job OF WORK" is simply nauseating. An Earthling would write something like this:

"Our goal is not just pleasant prose, but effective prose."

So the whole book is written in turgid-ese, even while trying to speak out against it. It's all just an endless wearying slog through the mire. Not unintelligible, just not worth the effort. For what do we learn at the end of the Long March? We learn we should omit needless words.

Last but not least, the book is a typographical disaster, with everything jumbled together and packed into the page. Skimming is impossible.

Many of the five star reviews here are from technical writers, engineers, and so forth. I see a guy from MIT, another from Compuserve, and that's as it should be. They're enured to bad English already, and I'm sure that compared to an engineering textbook this is John friggin' Keats. But for the rest of us, it's just not good enough.

(It's by a linguist, after all, and what the heck do they know about language?)

So it's back to Strunk and White for non-fiction. If you're interested in clearing up confusion in your fiction, check out "Writing and Selling Your Novel" by Jack Bickham, especially chapters 4 and 6. Teachers should consider "Classical Rhetoric for the Modern Student".

I've seen some of the reviews that disparage this book. I weep because they did not see the humor of this book. Style is hilarious. Before I read this book, before I understood the value of language use, I was terrified of editing, because I cannot keep the rules of grammar in my head. Each time I re-read this book, more of its inherent humor comes forth. So much of Joseph William's humor is admittedly subtle, but it is just that wonderful humor that perhaps only careful writers and readers can understand. I must say that this book has been a good part in helping me edit my own work... no: it has helped me want to edit my own work and explore the rules of language as being Real, Folklore or Optional.

Joseph William's book Style taught me that language could actually be fun. I thank him for writing this book.

Oftentimes I've admired writers whose succint style and laser-beam like precision gave their writings an impressive and expressive edge. I only wish some wise soul had exposed me to a book such as this 30 years earlier. Please plant the intellectual seeds of sequoias in any young writers you know, and buy a copy of this book as a gift. Professor Williams extraordinary lessons in style, cohesion and use of the English language make this book an absolute joy to read