Richard Lederer Quotes

This book is intended for use in English courses in which the practice of composition is combined with the study of literature. It aims to give in a brief space the principal requirements of plain English style. It aims to lighten the task of instructor and student by concentrating attention (in Chapters II and III) on a few essentials, the rules of usage and principles of composition most commonly violated. The numbers of the sections may be used as references in correcting manuscript.

I am aware of the technical distinction between ‘less’ and ‘fewer’, and between ‘uninterested’ and ‘disinterested’ and ‘infer’ and ‘imply’, but none of these are of importance to me. ‘None of these are of importance,’ I wrote there, you’ll notice – the old pedantic me would have insisted on “none of them is of importance”. Well I’m glad to say I’ve outgrown that silly approach to language

Language is more fashion than science, and matters of usage, spelling and pronunciation tend to wander around like hemlines.

Would you convey my compliments to the purist who reads your proofs and tell him or her that I write in a sort of broken-down patois which is something like the way a Swiss waiter talks, and that when I split an infinitive, God damn it, I split it so it will stay split, and when I interrupt the velvety smoothness of my more or less literate syntax with a few sudden words of bar-room vernacular, that is done with the eyes wide open and the mind relaxed but attentive.

There is no reason why we shouldn't be able to split an infinitive, any more than we should forsake instant coffee and air travel because they weren't available to the Romans.

When I read some of the rules for speaking and writing the English language correctly, I think any fool can make a rule, and every fool will mind it.

Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose.

Before using a fine word, make a place for it.

The one affectation I have forced on the publisher... are my apostrophe-free ellisions. Because I write my scripts to read myself, I dont spell 'don't' with an apostrophe. I spell it 'dont'. We all know the word and it seems foolish to put in an extraneous apostrophe. Punctuation marks are devices we use to make the meaning of sentences clear. There is nothing confusing about a word like 'dont' printed without an apostrophe to indicate an omitted letter.

George Moore wrote brilliant English until he discovered grammar.

Learning to write is not a linear process. There is no logical A-to-B-to-C way to become a good writer. One neat truth about writing cannot answer it all. There are many truths. To do writing practice means to deal ultimately with your whole life.

[T]he one thing I want for you is to recognize when you are really singing in writing practice and honor that. Trust that. When you were screaming on the page. Maybe that doesn't make a whole book but that is the true seed.

I remember nothing about it except a philological fact. My mother said nothing about the dragon, but pointed out that one could not say 'a green great dragon', but had to say 'a great green dragon'. I wondered why, and still do. The fact that I remember this is possibly significant, as I do not think I ever tried to write a story again for many years, and was taken up with language.

The peculiar need to write is increased, it seems, rather than allayed with practice.

You don't have to know the whole language to use it usefully, you can do baby talk, you can do grown up talk, you can cuss in it, you can write poetry, you can be a playwright, is sort of the idea.

It is odd that we never question the feasibility of a football team practicing long hours for one game; yet in writing we rarely give ourselves the space for practice.

To boldly split infinitives that no man had split before.

Anything works, as long as you write it properly.

Where strictness of grammar does not weaken expression, it should be attended to. . . . But where, by small grammatical negligences, the energy of an idea is condensed, or a word stands for a sentence, I hold grammatical rigor in contempt.

I would say that the writers I like and trust have at the base of their prose something called the English sentence. An awful lot of modern writing seems to me to be a depressed use of language. Once, I called it "vow-of-poverty prose." No, give me the king in his countinghouse. Give me Updike.

But what is more to the point is my belief that the habit of writing thus for my own eye only is good practice. It loosens the ligaments. Never mind the misses and the stumbles.

If you asked me to write a rock song or a rap song, I couldn't do it because they're not in my fingers.

Prescriptive grammar has spread linguistic insecurity like a plague among English speakers for centuries, numbs us to the aesthetic richness of non-standard speech, and distracts us from attending to genuine issues of linguistic style in writing.

I'm just very careful with my words when I write. Obsessively careful. I'm the sort of person who worries about the difference between "slim" and "slender."

When I am in Egypt, I am phoned because I am listed in the medical directory under "Mental Health and Psychiatry." And of course, I see very few people, because I give much more time to writing. So I cannot say that I really stopped medicine, but I practice medicine - or psychiatry - in a very different way. In an artistic way!