Inhibit Vs Prohibit

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Greg Landretti asks:
How about “inhibit” versus “prohibit”?
The first definition of inhibit in the OED gives “prohibit” as a synonym:
inhibit: trans. To forbid, prohibit, interdict (a person)
Several of the illustrations show inhibit being used where a modern writer would probably use prohibit. Here’s one:
By expresse words he was inhibited to beare armes without his own frontiers.
prohibit: trans. To forbid (an action, event, commodity, etc.) by a command, statute, law, or other authority
Perhaps owing to the influence of the psychology term inhibition, current usage usually associates inhibit with internal control and prohibit with external control.
inhibition: Psychol. A voluntary or involuntary restraint or check that prevents the direct expression of an instinctive impulse; also colloq., in looser use, an inner hindrance to conduct or activity.
Scientists fear that libel ruling will inhibit debate.
Most dogs need to learn to control or inhibit their behavior.
B.C. Government Says it Will Prohibit Mining in the Flathead.
New Hampshire Bill HB 1301 will prohibit no-fault divorce for parents with minor children.
The ability to inhibit one’s desires and impulses is an essential and desirable social skill. In some contexts, however, the word inhibited conveys a negative state, while uninhibited is seen as positive.
I find myself wishing I were not so inhibited.
The people from South Africa are known for the wonderful, uninhibited way in which they express their joy and happiness in life.
It was not until the twentieth century that freedom of the press came to be understood as guaranteeing an “uninhibited, robust and wide-open” public discourse.
sumber

tips menulis: Is "into" after "invade" really necessary?

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My ears pricked up when I heard the local weatherman say that rain was expected to “invade into the River Valley.”
Why, I wondered, hadn’t he said that rain was expected to “invade the River Valley? The verb invade includes the sense of “into.”
invade: transitive verb. to enter in a hostile manner, or with armed force; to make an inroad or hostile incursion into.
The word derives from Latin invadere “go into, fall upon”
As a transitive verb, invade takes a direct object:
[There was a] French plan to invade Britain in the 18th century
Stink bugs expected to invade W. Va. homes this fall
Invade may be used intransitively:
If they [aliens] invaded I think that they would pacify every part of the planet …
What’ll we do when they invade?
The OED lists a construction that uses on, upon, or into after invade, but doesn’t illustrate the use more recently than 1814.
The construction to invade upon someone’s privacy has the familiar ring of custom, but the construction “invade into” sounds like careless writing.
Here are some examples of the “invade into” construction in which the sentences would be made stronger by dropping the “into.”
Brazilian pepper constantly trying to invade into Corkscrew Swamp Sanctuary
[Should] media invade into celebrities private life or not?
Why can’t Canada sometime try to invade into the USA?
You will learn basic techniques on how to invade into others’ dreams
When computers started to invade into the field of training,
This use of the unnecessary “into” seems to be especially common in medical writing:
individual malignant cells can invade into the stroma
Per cell, more mites invade into shorter and narrower cells
Tumors arising from adjacent organs can also invade into the bladder
the bacterial cells that adhere to and invade into cancer cells. …
cancer occurs when a tumor has the potential to invade into a different tissue
In each of these examples, the word intrude would seem to be a better choice, and one that works comfortably with “into.”
I suppose that a writer might see some stylistic reason for adding the “into” after invade, but in most cases, invade is all you need.

sumber

Tips menulis Novel: What's yout Novel's Log Line

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The term log line (also spelled log-line and logline) is usually associated with movies, but the wise novelist will learn how to write one.

In the context of writing (as opposed to measuring a ship’s rate of speed), a log line is the succinct summary of a story. According to the Wikipedia article,
The log line first came into use and was recognized as a separate form during the old studio days of Hollywood. The studios had script vaults in which they stored screenplays. Readers wrote a concise one line summary of what the script was about either on the cover of the script, on the spine of the script, or both. The log line on the spine of the script allowed people to read the log lines of scripts that were stacked without having to unstack them.
Some of the examples of log lines given on various sites are “movie tags” rather than true log lines. The difference is that a movie tag is an advertising hook used to intrigue a viewer, while a log line is a selling tool intended to persuade an agent or producer to read a manuscript.

Here are two movie tags I found offered as “good examples of log lines”:
To enter the mind of a killer she must challenge the mind of a madman. – The Silence of the Lambs
On every street in every city, there’s a nobody who dreams of being a somebody. – Taxi Driver
An effective log line will contain these three essential elements:
the main character
what the main character wants
what must be overcome for the character to succeed
In other words, an effective log line will include protagonist, goal, and antagonistic force

These log lines from the Internet Movie Data Base meet these criteria better than the examples of the same movies given above:
A young FBI cadet must confide in an incarcerated and manipulative killer to receive his help on catching another serial killer who skins his victims. – The Silence of the Lambs
A mentally unstable Vietnam war veteran works as nighttime taxi driver in a city whose perceived decadence and sleaze feeds his urge to violently lash out, attempting to save a teenage prostitute in the process. -Taxi Driver
But even these log lines are less than effective as selling tools.

Both state the protagonist. The one for The Silence of the Lambs also states the protagonist’s goal, but it fails to include the antagonistic force: the killer’s hypnotic influence on her mind. The one for Taxi Driver states neither the protagonist’s goal nor the antagonistic force.

The most important element of any story is the protagonist’s goal. Once the main character has a goal, the story ensues from the obstacles that come between the protagonist and that goal.

Screenwriters are advised to write the log line before writing the script. That’s probably good advice for the novelist as well.

If you need a log line to serve as a starting point for a novel, or just want a little amusement, check out Brian Stokes’s Random Log-line Generator.