But to write good English, you have to read good english. We all need models.whatever art or craft we are trying to learn. Bach needed a model. Picasso needed a model. They didn't spring 1)full-blown as Bach and Picasso. And this is especially true of writers. Writing is learned by imitation. If anyone asked me how I learned to write, I'd say I learned by reading the writers who were doing the kind of writing I wanted to do, and trying to figure out how they did it. So find the best models in the field you want to write about and get what they're doing into your ear. Get a sense of all the wonderful possibilities that are just waiting for you as a non-fiction writer. Don't worry that you'll lose your own style or your own identity by imitating somebody else. That's part of the learning process for all creative people, soon enough we 2)shed those skins and become who we are supposed to become.
Most readers listen to what they read, so you must listen to what you write. I write entirely by ear, matters of rhythm, and 3)cadence and 4)alliteration, and musical 5)lilt are tremendously important to me, how my sentences sound, and I read everything aloud before I let it go out into the world. You should start doing that now. With everything you write, read it aloud. You will be amazed, at how much you hear that needs fixing, that your eye didn’t catch. You'll hear clunkiness. All the sentences that move at the same 6)plodding pace. You will hear repetition. You will hear cliches that hit you in the ear, and every cliches you get rid of is pure gold.
Reading aloud you will also find ambiguity, all those places where something you wrote isn't quite clear, often because you wrote a sentence without asking yourself, as you always should, where did I leave the reader in the previous sentence. You've changed the direction, maybe a change of tense or place or mood, and that direction, is clear to you. But you didn't take the reader along. You didn't provide the transition, the bridge that the reader needs to follow your train of thought and he's lost. And there's no sin worse than losing the reader because he'll stop reading and you won’t get him back, or confusing the reader or delaying the reader, making him read a passage two or three times to figure it out, because that's just carelessness, sloppy use of the craft. English is a wonderful precise language. It can say anything you want it to say very simply, if you take care to say it right. One of the things you should aspire to be is a careful writer. So listen to what you write. And if the sound doesn't please you, and if it doesn't please you, it won't please your reader, do some 7)tinkering, with the metres and the musical patterns and the length of your sentences and the shape of your sentences. Turn a sentence around, or turn it into a question or throw in a very short sentence, and see if you can make those sentences dance, or at least sing. One of the main reasons we like to read a stylist like E.B White like is that we know in our ear, that he is a man who cares 8)in his bones, about the sonority of the English language.
1) full-blown: a. 完全成熟的
2) shed v. 去除
3) cadence n. （声音的）抑扬顿挫
4) alliteration n. （语言）头韵，头韵法（指在一组词或一行诗中用相同的字母或声音开头）
5) lilt n. 节奏轻快的旋律
6) plod a. 单调乏味的
7) tinker v. 修理，修改
8) in his bones 在某人的本性中