Birth of the 27th Letter

By lon’s draft


(1st Testament;
Page 27-AZ:00 hours)

Near a window
at the corner table,
A hand lifts a pen and writes.
Blood drips from the white page
ideas flow like red
Pregnant with meaning
The book cries
ink tears
letters fight to get out
twenty six daughters
prisoners of the alphabet
an unseen son
wanting to be heard
to be felt
to be free!
to form words that touch souls
evoke emotion
and stimulate thoughts
living words
to be consumed by minds
whispered by hearts
and concieved by mouths
the birth of a king
in the world of words
The 27th letter!

_lon’s draft_


This piece by lon’s draft was actually penned down about a year ago.


Is Language Evolving or Dying? by Alffie

Change the meaning of a word and you change the meaning of the world.

I was fortunate (or unfortunate depending on how you see it) to have an English teacher being my mother. Let me paint the picture, my English was for one particular reason a little less credible than hers..This is the reason:

“My teacher was a white man whose first language was English. I wasn’t taught English by an Omondi, a Kamau or a Wanyama!” She once put it!

We always argued over pronunciation – our favorite being picking into news anchors’ pronunciation & at best painful use of English! If there’s one thing I’m poor at it’s “sheng“. It’s not that I can’t understand it, I just can’t keep up with its dynamism and ambiguity. Plus the idea that it is location specific also presents a barrier for me so I stopped trying.

So why write this post?Well,since the advent of social media especially..the foundation ground of language as we know it has been shifted. This coming as such things as Hip Hop culture already playing its major role in shifting the language dynamics a great deal!

Allow me to highlight several examples:

Hip Hop Influence

The Hip Hop culture came in with creativity at it’s best, especially so through RAP (Rhythm And Poetry). This art form brought with it witty word play, coining of new words like shawty and word use which include redefining the meaning of ordinary words to mean different things. Now when you mention words like COOL, HOT, CAT, ICE, CHIC, FLY, RIDE…etc you have to consider the audience and context because they all refer to different things from what they should originally. One that bothers me a lot is “Hustler”. Hip Hop has made this word mean a person who works hard to get what he has. If my mother hears this word used, she’ll probably go to the dictionary meaning which is not good at all..

This movement also brought along with it new ways of saying ordinary words. The most common being the one widely credited to Snoop Dogg.. one just adds the “izzle” suffix 7 what u get is for example.. for shizzle nizzle,it’s the big Snoop D-O Double Gizzle!

The Computer Age Bug

This is not much but has changed quite a bit of language. Consider for example how much you hear of  “Windows” and immediately think of the normally glass covered opening on a wall of a building?! Windows, Apple, Mouse, Program among many other words don’t get the same automatic ordinary response they were meant to have.

Social Media

This ties in a lot with ‘The Computer Bug’ because simply put, social media rides on the revolutionary wave of the computer age. Social media has made ordinary language entirely different. Now we have initials to represent reactions like LOL for Laughing-Out-Loud, SMH for Shaking My Head probably in disbelief, among many others. It’s influence is so bad that I recently saw a tweet of a friend who ended up saying LOL instead of actually laughing! Other common acronyms and their meanings can be found here.

There’s this expression; “DEAD” (common on twitter! for some reason, Facebook faithful don’t seem to get this concept!!) which implies that one is dying of laughter. Then there’s this expression “Blog whoring”.. my mother would faint on hearing such an expression used in whatever setting! The idea here is that one moves from one blog to another reading as they go along. Now, I understand that, reading someone’s work has been described as intercourse of the minds but “blog-whoring” seems like pushing the envelope, I would think!

At the end of the day, when you meet someone who can’t seem to express themselves well i.e. articulate their thoughts well, speech punctuated by curse words half of which they hardly understand, mixing languages (we’ll meet in the jios, soma the gazeti!!).. you can’t actually blame the above reasons, at least not without considering other factors.

I realised, for example..not many can sit through a British (English) movie mainly because their “English” is “hard”. They would rather watch the American (US) which defiles English as it is! To start pointing out the errors in American English would be a tedious task.

Is it a case of evolved language or death of it?

With all these changes, the world has indeed changed. For the positive or for the negative…I won’t dare to judge!

PS: And before I go, my name is The Alternative Focus not my names are.

Writerisms and other Sins: A Writer’s Shortcut to Stronger Writing

I found this somewhere so I thought I should share it with you everyone.

Copyright © 1995 by C.J. Cherryh

Writerisms: overused and misused language. In more direct words: find ‘em, root ‘em out, and look at your prose without the underbrush.

1. am, is, are, was, were, being, be, been … combined with “by” or with “by … someone” implied but not stated. Such structures are passives. In general, limit passive verb use to one or two per book. The word “by” followed by a person is an easy flag for passives.

2. am, is, are, was, were, being, be, been … combined with an adjective. “He was sad as he walked about the apartment.” “He moped about the apartment.” A single colorful verb is stronger than any was + adjective; but don’t slide to the polar opposite and overuse colorful verbs. There are writers that vastly overuse the “be” verb; if you are one, fix it. If you aren’t one—don’t, because overfixing it will commit the next error.

3. florid verbs. “The car grumbled its way to the curb” is on the verge of being so colorful it’s distracting. {Florid fr. Lat. floreo, to flower.}If a manuscript looks as if it’s sprouted leaves and branches, if every verb is “unusual,” if the vocabulary is more interesting than the story … fix it by going to more ordinary verbs. There are vocabulary-addicts who will praise your prose for this but not many who can simultaneously admire your verbs as verbs and follow your story, especially if it has content. The car is not a main actor and not one you necessarily need to make into a character. If its action should be more ordinary and transparent, don’t use an odd expression. This is prose.This statement also goes for unusual descriptions and odd adjectives, nouns, and adverbs.

4. odd connectives. Some writers overuse “as” and “then” in an attempt to avoid “and” or “but,” which themselves can become a tic. But “as” is only for truly simultaneous action. The common deck of conjunctions available is:

  • when (temporal)
  • if (conditional)
  • since (ambiguous between temporal and causal)
  • although (concessive)
  • because (causal)
  • and (connective)
  • but (contrasting)
  • as (contemporaneous action or sub for “because”) while (roughly equal to “as”)

These are the ones I can think of. If you use some too much and others practically never, be more even-handed. Then, BTW, is originally more of an adverb than a proper conjunction, although it seems to be drifting toward use as a conjunction. However is really a peculiar conjunction, demanding in most finicky usage to be placed *after* the subject of the clause. Don’t forget the correlatives, either … or, neither … nor, and “not only … but also.” And “so that,” “in order that,” and the far shorter and occasionally merciful infinitive: “to … {verb}something.”

5. Descriptive writerisms. Things that have become “conventions of prose” that personally stop me cold in text. “framed by” followed by hair, tresses, curls, or most anything cute.

  • “swelling bosom”
  • “heart-shaped face”
  • “set off by”: see “framed by” * “revealed” or “revealed by”: see “framed by.” Too precious for words when followed by a fashion statement.
  • Mirrors … avoid mirrors, as a basic rule of your life. You get to use them once during your writing career. Save them for more experience. But it doesn’t count if they don’t reflect … by which I mean see the list above. If you haven’t read enough unpublished fiction to have met the infamous mirror scenes in which Our Hero admires his steely blue eyes and manly chin, you can scarcely imagine how bad they can get.
  • limpid pools and farm ponds: I don’t care what it is, if it reflects your hero and occasions a description of his manly dimple, it’s a mirror.As a general rule … your viewpoint characters should have less, rather than more, description than anyone else: a reader of different skin or hair color ought to be able to sink into this persona without being continually jolted by contrary information.Stick to what your observer can observe. One’s own blushes can be felt, but not seen, unless one is facing … .a mirror. See above.
  • “as he turned, then stepped aside from the descending blow … ” First of all, it takes longer to read than to happen: pacing fault. Second, the “then” places action #2 sequentially after #1, which makes the whole evasion sequence a 1-2 which won’t work. This guy is dead or the opponent was telegraphing his moves in a panel-by-panel comic book style which won’t do for regular prose. Clunky. Slow. Fatally slow.
  • “Again” or worse “once again.” Established writers don’t tend to overuse this one: it seems like a neo fault, possibly a mental writerly stammer—lacking a next thing to do, our hero does it “again” or “once again” or “even yet.” Toss “still” and “yet” onto the pile and use them sparingly.

6. Dead verbs. Colorless verbs.

  • walked
  • turned
  • crossed
  • run, ran
  • go, went, gone
  • leave, left
  • have, had
  • get, got

You can add your own often used colorless verbs: these are verbs that convey an action but don’t add any other information. A verb you’ve had to modify (change) with an adverb is likely inadequate to the job you assigned it to do.

7. Colorless verb with inadequate adverb: “He walked slowly across the room.”More informative verb with no adverb: “He trudged across the room,” “He paced across the room,” “He stalked across the room,” each one a different meaning, different situation. But please see problem 3, above, and don’t go overboard.

8. Themely English: With apologies to hard-working English teachers, school English is not fiction English.Understand that the meticulous English style you labored over in school, including the use of complete sentences and the structure of classic theme-sentence paragraphs, was directed toward the production of non-fiction reports, resumes, and other non-fiction applications.The first thing you have to do to write fiction? Suspect all the English style you learned in school and violate rules at need. Many of those rules will turn out to apply; many won’t.{Be ready to defend your choices. If you are lucky, you will be copyedited. Occasionally the copyeditor will be technically right but fictionally wrong and you will have to tell your editor why you want that particular expression left alone.}

9. Scaffolding and spaghetti. Words the sole function of which is to hold up other words. For application only if you are floundering in too many “which” clauses. Do not carry this or any other advice to extremes.”What it was upon close examination was a mass the center of which was suffused with a glow which appeared rubescent to the observers who were amazed and confounded by this untoward manifestation.” Flowery and overstructured. “What they found was a mass, the center of which glowed faintly red. They’d never seen anything like it.” The second isn’t great lit, but it gets the job done: the first drowns in “which” and “who” clauses.In other words—be suspicious any time you have to support one needed word (rubescent) with a creaking framework of “which” and “what” and “who.” Dump the “which-what-who” and take the single descriptive word. Plant it as an adjective in the main sentence.

10. A short cut to “who” and “whom.”

  • Nominative: who
  • Possessive: whose
  • Objective: whom

The rule:

a) Treat the “who-clause” as a mini-sentence. If you could substitute “he” for the who-whom, it’s a “who.” If             you could substitute “him” for the who-whom it’s a “whom.”The trick is where ellipsis has occurred … or where                   parentheticals have been inserted … and the number of people in important and memorable places who get it                       wrong.       “Who … do I see?” Wrong: I see he? No. I see “him.” Whom do I see?

b) “Who” never changes case to match an antecedent. (word to which it refers)

  • I blame them who made the unjust law. CORRECT.
  • It is she whom they blame. CORRECT: The who-clause is WHOM THEY BLAME.
  • They blame HER=him, =whom.
  • I am the one WHO is at fault. CORRECT.
  • I am the one WHOM they blame. CORRECT.
  • They took him WHOM they blamed. CORRECT—but not because WHOM matches HIM: that doesn’t matter: correct because “they” is the subject of “blamed” and “whom” is the object.
  • I am he WHOM THEY BLAME. CORRECT. Whom is the “object” of “they blame.”

Back to rule (a): “who” clauses are completely independent in case from the rest of the sentence. The case of “who” in its clause changes by the internal logic of the clause and by NO influence outside the clause. Repeat to yourself: there is no connection, there is no connection 3 x and you will never mistake for whom the bell tolls.

The examples above probably grate over your nerves. That’s why “that” is gaining in popularity in the vernacular and why a lot of copyeditors will correct you incorrectly on this point. I’m beginning to believe that nine tenths of the English-speaking universe can’t handle these little clauses.

11. -ing. “Shouldering his pack and setting forth, he crossed the river … ”

No, he didn’t. Not unless his pack was in the river. Implies simultaneity. The participles are just like any other verbal form. They aren’t a substitute legal everywhere, or a quick fix for a complex sequence of motions. Write them on the fly if you like, but once imbedded in text they’re hard to search out when you want to get rid of their repetitive cadence, because -ing is part of so many fully constructed verbs {am going, etc.}

12. -ness A substitute for thinking of the right word. “Darkness,” “unhappiness,” and such come of tacking -ness (or occasionally – ion) onto words. There’s often a better answer. Use it as needed.As a general rule, use a major or stand-out vocabulary word only once a paragraph, maybe twice a page, and if truly outre, only once per book. Parallels are clear and proper exceptions to this, and don’t vary your word choice to the point of silliness: see error 3.

I hope all writers will keep this in mind as they go about doing their business …. that is writing!