A Quote by Harry Kemelman

It helps to read the sentence aloud. — © Harry Kemelman
It helps to read the sentence aloud.
Anyone should be very suspicious of a sentence he's written that can't be read aloud easily.
I'm trying to make the poems as musical as I can - from the inception. So that whether they're read on the page, or people read them aloud, or I read them aloud, the musicality will be kind of a given.
I never send a story off until I have read it aloud to at least two or three people. Because when I read - and I don't need their criticism, what I need is my own - when I read it aloud, there is a flow, there is a poetry to it.
A dependent clause (a sentence fragment set off by commas, dontcha know) helps you explore your story by moving you deeper into the sentence. It allows you to stop and think harder about what you've already written. Often the story you're looking for is inside the sentence. The dependent clause helps you uncover it.
We have an obligation to read aloud to our children. To read them things they enjoy. To read to them stories we are already tired of. To do the voices, to make it interesting, and not to stop reading to them just because they learn to read to themselves. Use reading-aloud time as bonding time, as time when no phones are being checked, when the distractions of the world are put aside.
I always listen to music while I'm working and I always read aloud to my wife. I love to read aloud to an audience because there's a cadence and a beat. There's a music to the language that's very important to me.
It might be an idea for all literary critics to read the books they analyse aloud - it certainly helps to fix them in the mind, while providing a readymade seminar with your audience.
One way to be aware of it, to teach to yourself, is simply to read work aloud. I love reading the endings of books aloud when I start nearing the end.
Every time you read a poem aloud to yourself in the presence of others, you are reading it into yourself and them. Voice helps to carry words farther and deeper than the eye.
With a 660-page book, you don't read every sentence aloud. I am terrified for the poor guy doing the audio book. But I do because I think we hear them aloud even if it's not an audio book. The other goofy thing I do is I examine the shape of the words but not the words themselves. Then I ask myself, "Does it look like what it is?" If it's a sequence where I want to grab the reader and not let the reader go then it needs to look dense. But at times I want the reader to focus on a certain word or a certain image and pause there.
In dialogue, make sure that your attributives do not awkwardly interrupt a spoken sentence. Place them where the breath would come naturally in speech-that is, where the speaker would pause for emphasis, or take a breath. The best test for locating an attributive is to speak the sentence aloud.
If we are always reading aloud something that is more difficult than children can read themselves then when they come to that book later, or books like that, they will be able to read them - which is why even a fifth grade teacher, even a tenth grade teacher, should still be reading to children aloud. There is always something that is too intractable for kids to read on their own.
Experts generally agree that taking all opportunities to read books and other material aloud to children is the best preparation for their learning to read. The pleasures of being read to are far more likely to strengthen a child's desire to learn to read than are repetitions of sounds, alphabet drills, and deciphering uninteresting words.
When you're laughing aloud at David Sedaris' every sentence, it's easy to miss the more serious side of what he's up to.
When I read poetry, I read it aloud. It's so much better that way.
My mother would read aloud to my father and me in the evening. She read mainly travel books.
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