4.2 The English Writing Bible: A Review of The Elements of Style by Strunk and White

Style should be treated as a distinct topic in English writing and should not be confused with grammar. To learn about style, teachers may suggest grammar textbooks, dictionaries, or even business-writing manuals. In fact, however, these are not sufficient substitutes. Before I came across The Elements of Style by Strunk and White, the closest substitute I had found was The Complete Book of English, which briefly covered many English topics. The Elements of Style, however, was written as a practical reference guide for general learners of English. It is a special case among reference books: rather than merely reviewing grammar and usage, it offers guidance on making effective choices within the domain of English usage. Originally written in 1919 by the English professor William Strunk Jr., it began as a small handbook of notes required for students at Cornell. Later, after Professor Strunk passed away, E. B. White, one of his former students, rediscovered the booklet and recognized its value. Although there have been controversies about some of its views on contemporary usage, White believed that Strunk’s principles would refine the taste and discipline of writing. For that reason, this little book has often been regarded as the writing bible of English.

This compact little book contains abundant insight for anyone who wants to build sound writing principles. Although it is a rule book, it is especially useful for writers who often forget the basic rules of usage and composition—or who tend to overwrite. A good writer should know not only how to draft but also how to proofread and edit. Many great writers have reflected that editing takes most of the time and effort required to present their best work. In my experience teaching writing, once students put their first words on paper, I would meet with them and review their work sentence by sentence with respect to structure, and the improvements in their second and final drafts were often surprising. In this way, the little book serves a tutorial purpose. It reminds readers of three major areas: 1) the rules of English usage, including grammar and punctuation; 2) principles of composition, including sentence structure and clarity; and 3) the approach to style, together with the writing mindset. In the following discussion, I will highlight some key principles and summarize each section.

1)        The Rules of English Usage (Grammar and Punctuation)

The rules of general usage form the most technical section of the book. In general, sentence structure depends on the proper arrangement of parts of speech to fit a given situation. In many cases, however, clarity depends especially on correct punctuation. The use of the comma, for example, varies according to context. One should use it in dates such as June 5, 2026 in American usage, but not 5 June 2026 in British usage. A comma may also separate a dependent clause from an independent clause while still joining both into one statement. When using a parenthetic expression, commas should be placed before and after the inserted phrase, as in “the partying crowd, who were loud and drunk, were arrested after a fight with the shop owner.” A semicolon is followed by an independent clause, whereas a colon is used before a list, an appositive, an amplification, or a quotation. Dashes can explain a lengthy appositive, such as “my older brother—a doctor with ten years of experience—volunteered at the rural clinic last summer.” Possession can be expressed in many situations, but it is restricted in certain fixed expressions, such as the law of demand, not the demand’s law. The number of verbs used in a sentence should correspond to the number of subjects being referred to. After words such as each, either, everyone, everybody, neither, nobody, and someone, writers should use a singular verb. Writers should also use pronouns properly, including the correct use of who and whoever depending on the function of the subordinate clause. A pronoun becomes nominative when it is understood as the subject of an omitted verb. For example: “my cat loves my boyfriend more than I do,” not “my cat loves my boyfriend more than me.” When a participial phrase appears at the beginning of a sentence, its grammatical relation to the subject must be clear, as in “without the government’s assistance, the residents felt helpless in the aftermath of the earthquake.” These are the small mistakes to which writers should pay more attention, because such defects reflect the quality of their grammatical usage.

2)        Principles of Composition

The principles of composition deal more deeply with the structure of the paragraph. One of the foremost ideas is that even a single sentence, or perhaps a few sentences together, may be considered a paragraph. We have in fact discussed some of these principles in a previous chapter, and this little book confirms them. Any form of writing should have a clear purpose, and to communicate effectively with an audience, it must have a sound design. For example, if you decide to write a three-line poem, you should not end it by turning it into a sonnet. Paragraphs are the units that support the design of a piece of writing. Each paragraph should begin with a topic sentence; descriptions should be brief and focused; and narrative outlines should be clear and concise. Effective paragraphing helps readers understand a text more easily. If a paragraph becomes too long and lacks proper punctuation, it is more likely to become obscure and bewildering. Because writing requires a logical mind, a writer should stay positive, keep everything in one tense, and remove needless words by shortening sentences where possible. In a loose sentence such as “I went to the market, buying meat and vegetables for dinner,” it is often better to revise it into a simpler and more direct form. In general, the principles of composition clarify the rules that govern paragraph structure. Writers, therefore, should pay attention to excess words, unclear structure, and inconsistent tense.

3)        The Approach to Style (and the Writing Mindset)

A writing style is the product of logic and consistent practice. Through repeated trial and error, the path toward an effective style gradually becomes clearer. Like building a house in an open space, a writer is most likely to complete the project by using efficient methods and available resources. The same applies to writing. According to the little book, a writer should place himself or herself in the background and focus on the subject, whether it belongs to the past, the present, or the future. It also emphasizes that style should suit the purpose of the writing. When a writer takes advantage of a suitable design and structure, such as the formal writing layout discussed earlier, and then naturally reshapes it with fresh elements, the writing becomes more effective. With respect to subject-verb-object agreement, writers should rely on strong nouns and verbs. They should not overwrite, overstate, or overinterpret an idea. Writing has no shortcut. Writers should avoid fancy words, informal spellings, and unnecessary abbreviations, and should always make sure that readers can understand the message. To reduce wordiness, adverbs should be used with care. The final recommendations are to be clear and to rewrite and revise whenever needed. If a writer takes these lessons to heart, he or she will move toward a sound writing habit and a higher standard of expression.

Before closing the chapter on The Elements of Style, we may conclude that style is not a decorative extra in writing but the very discipline that shapes meaning, clarity, and impact. Grammar provides correctness, but style gives writing its force and direction. As Strunk and White emphasize, good style grows from clear thinking, careful word choice, and constant revision. Writers who learn to avoid needless words, maintain unity, and express ideas with sincerity develop not only stronger sentences but also a stronger writing habit. For that reason, The Elements of Style remains a valuable companion for anyone who wishes to write with precision, confidence, and purpose.

Copyright © 2026 William Li. All rights reserved.