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"In fiction, plenty do the job of conveying information, rousing suspense, painting characters, enabling them to speak. But only certain sentences breathe and shift about, like live matter in soil."
―Jhumpa Lahiri

Compound patterns (6)​​

Describe usefulness of compound patterns...

1) No conjunction (7)

       1a) Conjunctive adverb (10)

       1b) Coordinating conjunction (12)

       1c) Two or more semicolons (14)

2) Elliptical construction (15)

3) Explanatory statement (18)

Series patterns (21)

Describe usefulness of series patterns

4) Without conjunction (22)

        4a) Variation (26)

5) Balanced pairs (30)

6) Beginning appositives (33)

7) Internal appositives/modifiers (37)

          7a) Single appositive (40)

8) Dependent clauses (43)

Repetitions (47)

Describe usefulness of repetitions.

9) Key term (49)

          9a) Parallel structure (53)

10) Emphatic appositive at end, after colon (56)

          10a) Appositive after a dash (60)

Modifiers (64)

Describe usefulness of modifiers.

11) Interruptor (65) 

           11a) Full sentence (69)

12) Participles (73)

13) Emphatic (77)

Inversions (80)

Describe usefulness of inversions.

14) Prepositional phrase (81)

15) Object or complement (84)

         15a) Total (87)

Miscellaneous Patterns (89)

16) Paired constructions (89)

         16a) Paired construction for contrast only (93)

17) Dependent clause as subject/object/complement (97)

18) Absolute construction (100)

19) Simple sentence (103)

         19a) A simple question (105)

20) Deliberate fragment (108)


Once upon a time two or three weeks ago, a rather stubborn and determined middle-aged man decided to record for posterity, exactly as it happened, word by word and step by step, the story of another man for indeed what is great in man is that he is a bridge and not a goal, a somewhat paranoiac fellow unmarried, unattached, and quite irresponsible, who had decided to lock himself in a room a furnished room with a private bath, cooking facilities, a bed, a table, and at least one chair, in New York City, for a year 365 days to be precise, to write the story of another person—a shy young man about of 19 years old—who, after the war the Second World War, had come to America the land of opportunities from France under the sponsorship of his uncle—a journalist, fluent in five languages—who himself had come to America from Europe Poland it seems, though this was not clearly established sometime during the war after a series of rather gruesome adventures, and who, at the end of the war, wrote to the father his cousin by marriage of the young man whom he considered as a nephew, curious to know if he the father and his family had survived the German occupation, and indeed was deeply saddened to learn, in a letter from the young man—a long and touching letter written in English, not by the young man, however, who did not know a damn word of English, but by a good friend of his who had studied English in school—that his parents both his father and mother and his two sisters one older and the other younger than he had been deported they were Jewish to a German concentration camp Auschwitz probably and never returned, no doubt having been exterminated deliberately X * X * X * X, and that, therefore, the young man who was now an orphan, a displaced person, who, during the war, had managed to escape deportation by working very hard on a farm in Southern France, would be happy and grateful to be given the opportunity to come to America that great country he had heard so much about and yet knew so little about to start a new life, possibly go to school, learn a trade, and become a good, loyal citizen. —Raymond Federman, Double or Nothing (1971)

17. Verbs

19. Rhythm