Even in practical articles, figurative diction may not be amiss. In explaining a method of splitting old kitchen boilers in order to make watering troughs, a writer in a farm journal happily described a cold chisel as "turning out a narrow shaving of steel and rolling it away much as the mold-board of a plow turns the furrow."
The stimulating effect of a paragraph abounding in figurative expressions is well illustrated by the following passage taken from a newspaper personality sketch of a popular pulpit orator:
His mind is all daylight. There are no subtle half-tones, or sensitive reserves, or significant shadows of silence, no landscape fading through purple mists to a romantic distance. All is clear, obvious, emphatic. There is little atmosphere and a lack of that humor that softens the contours of controversy. His thought is simple and direct and makes its appeal, not to culture, but to the primitive emotions. * * * * His strenuousness is a battle-cry to the crowd. He keeps his passion white hot; his body works like a windmill in a hurricane; his eyes flash lightnings; he seizes the enemy, as it were, by the throat, pommels him with breathless blows, and throws him aside a miserable wreck.
Sentences. For rapid reading the prime requisite of a good sentence is that its grammatical structure shall be evident; in other words, that the reader shall be able at a glance to see the relation of its parts. Involved sentences that require a second perusal before they yield their meaning, are clearly not adapted to the newspaper or magazine. Short sentences and those of medium length are, as a rule, more easily grasped than long ones, but for rapid reading the structure of the sentence, rather than its length, is the chief consideration. Absolute clearness is of paramount importance.
In hurried reading the eye is caught by the first group of words at the beginning of a sentence. These words make more of an impression on the reader's mind than do those in the middle or at the end of the sentence. In all journalistic writing, therefore, the position of greatest emphasis is the beginning. It is there that the most significant idea should be placed. Such an arrangement does not mean that the sentence need trail off loosely in a series of phrases and clauses. Firmness of structure can and should be maintained even though the strongest emphasis is at the beginning. In revising his article a writer often finds that he may greatly increase the effectiveness of his sentences by so rearranging the parts as to bring the important ideas close to the beginning.
Length of the Sentence. Sentences may be classified according to length as (1) short, containing 15 words or less; (2) medium, from 15 to 30 words; and (3) long, 30 words or more. Each of these types of sentence has its own peculiar advantages.
The short sentence, because it is easily apprehended, is more emphatic than a longer one. Used in combination with medium and long sentences it gains prominence by contrast. It makes an emphatic beginning and a strong conclusion for a paragraph. As the last sentence of an article it is a good "snapper." In contrast with longer statements, it also serves as a convenient transition sentence.
The sentence of medium length lends itself readily to the expression of the average thought; but when used continuously it gives to the style a monotony of rhythm that soon becomes tiresome.
The long sentence is convenient for grouping details that are closely connected. In contrast with the rapid, emphatic short sentence, it moves slowly and deliberately, and so is well adapted to the expression of dignified and impressive thoughts.
To prevent monotony, variety of sentence length is desirable. Writers who unconsciously tend to use sentences of about the same length and of the same construction, need to beware of this uniformity.