Categories
Grammar and Grace

Compound Words? (Part 2)

Last time, I offered a list of compound words from A to H. This post continues with the remainder of the H words through T.

honeybee

honeycomb

honeydew

honeymoon

honeysuckle

hookup

hookworm

horseback

horsefly

horsehair

horseman

horseplay

horsepower

horseradish

houseboat

household

housekeeper

housetop

housework

however

intake

ironwork

itself

jackpot

jailbait

jellybean

jellyfish

jetliner

jetport

jumpshot

keyboard

keyhole

keynote

keypad

keypunch

keystroke

keyway

keyword

lifeblood

lifeboat

lifeguard

lifelike

lifeline

lifelong

lifesaver

lifetime

lifework

limelight

limestone

longhand

longhouse

lukewarm

mainland

mainline

matchbox

meantime

meanwhile

moonbeam

moonlight

moonlit

moonscape

moonshine

moonstruck

moonwalk

moreover

mothball

motherhood

motorcycle

nearby

nevermore

newborn

newfound

newsboy

newsbreak

newscaster

newsletter

newsman

newspaper

newsperson

newsprint

newsreel

newsroom

newsstand

newsworthy

nightfall

nobody

noisemaker

northeast

notebook

noteworthy

nowhere

nursemaid

nutcracker

oneself

onetime

overabundance

overboard

overcoat

overflow

overland

overshoes

pacemaker

pancake

passbook

passkey

Passover

passport

paycheck

peppermint

pickup

pinhole

pinstripe

pinup

pinwheel

playback

playboy

playhouse

playthings

ponytail

popcorn

postcard

racquetball

railroad

railway

rainbow

raincheck

raincoat

raindrop

rainstorm

rainwater

rattlesnake

rattletrap

repairman

riverbanks

rubberband

sailboat

salesclerk

sandlot

sandlot

sandlot

sandstone

saucepan

scapegoat

scarecrow

schoolbook

schoolboy

schoolhouse

schoolwork

seashore

setback

sharecropper

sharpshooter

sheepskin

shoelace

shoemaker

shortbread

showoff

showplace

sideburns

sidekick

sideshow

sidewalk

silversmith

sisterhood

skateboard

skintight

skylark

skylight

skyscraper

slapstick

slowdown

slumlord

snakeskin

snowball

snowbank

snowbird

snowdrift

softball

software

somebody

someday

somehow

someone

someplace

something

sometimes

somewhat

somewhere

soundproof

southeast

southwest

soybean

spacewalk

spearmint

spillway

spokesperson

stagehand

standby

standoff

standout

standpipe

standpoint

starfish

steamboat

steamship

stepson

stockroom

stonewall

stoplight

stopwatch

storerooms

stronghold

subway

sunbathe

sundial

sundown

sunfish

sunflower

sunglasses

sunlit

sunray

sunroof

sunup

supercargo

supercharge

supercool

superego

superfine

superfine

supergiant

superhero

superhighways

superhuman

superimpose

superman

supermarket

supermen

supernatural

superpower

superscript

supersensitive

supersonic

superstar

superstructure

supertanker

superwoman

sweetheart

sweetmeat

tablecloth

tablespoon

tabletop

tableware

tadpole

tagalong

tailbone

tailcoat

tailgate

taillight

tailpiece

tailspin

takeoff

takeout

takeout

takeover

talebearer

taleteller

tapeworm

taproom

taproot

target

taskmaster

 

taxicab

I hope these lists are helping with your editing efforts.

Happy writing!

Hope Toler Dougherty holds a Master’s degree in English and taught at East Carolina University and York Technical College. Her publications include three novels Irish Encounter and Mars…With Venus Rising, and Rescued Hearts as well as nonfiction articles. A member of ACFW, RWA, and SinC, she writes for SeriousWriter.com. She and her husband live in North Carolina and enjoy visits with their two daughters and twin sons.

Author of Rescued Hearts
               Irish Encounter
              Mars…With Venus Rising
Visit Hope at www.hopetolerdougherty.com
Categories
The Picky Pen

Editing the Plot

Okay. Most of you (myself included) admit it’s challenging and exciting to plan the next book. It must be simple, right? Think of an idea. Create characters and compelling scenes. Write a few hundred pages. And you’re done. Right?

Wrong. Not. That. Simple.

You’ve got to think of a plot that works. A plot that includes a beginning, middle, and end. You may not think plotting a book is part of editing, but it is, my friend. What I’m going to say next is vital to the life and breath of your story. If we don’t analyze how our story flows at the macro level we won’t have a solid story to edit at the micro level.

What? There’s a structure to tying it all together? I’m afraid so. A story isn’t Friday Mish Mash. (Although some writers have successfully pulled off a great mish mash story . . . that’s another conversation for another day.)

  • Beginning. Introduce your characters, bring in a conflict or desire between your main character and an antagonist (can be an animate or inanimate object), and set up how the main character is going to achieve their goal.
  • Middle. Continue story with riveting twists and turns for the character to achieve the solution to the problem or desire. You can even introduce subplot, which is often more exciting than the main plot.
  • End. Begin to wrap up the solution to the problem, but not before your character is forced to choose between good and evil in order to obtain their goal. This is the most exciting part in your story because you’ll hook your readers even more and keep them reading late into the night. (A very good thing!) Your conclusion should be satisfying and solve the problem your character faced in the beginning of the story.

Remember. Readers who have a reason to care about the characters you’ve created will be hooked from beginning to end.

Here’s an example of my own WWII story:

Beginning
Clara must babysit her little sister while their mother goes shopping. In addition to babysitting, Clara has to put up the tomatoes (goal). Little sister Bevy proceeds to wreck Clara’s work (problem). Clara tries to work with Bevy to no avail (aggravated problem.)

Middle
Clara is frustrated that Bevy is squashing all of the tomatoes and reacts angrily toward Bevy. Bevy runs outside (climax).

End
While cleaning up the tomato mess, Clara sees Beverly running toward the tractor where their dad is harvesting crops (unexpected climax that causes reader to care). Clara realizes the importance of her attitude toward Bevy (resolution to the problem).

The instructions might sound simple. But it takes practice to grasp the concept of beginning, middle, and end structure and then to execute it. Grasping the concepts are also determined by editing the plot to make sure it sings like a canary rather than a crow. Then. It. Will. Be. Simple.

Join in the discussion!

What part of the novel do you struggle with and what resources help you conquer the struggle part(s)?

Tisha Martin writes historical fiction and nonfiction but also edits and proofreads for beginning and best-selling writers, professional editing agencies, and publishing houses. She has a BA in Professional Writing, an MS in English Education, and an editing certificate from the PEN Institute, affordable continuing education for editors. Active in American Christian Fiction Writers and The PEN, she appreciates the writing and editing communities. As Assistant Director of PENCON, a conference for editors, she enjoys travel marketing and updating PENCON’s Facebook Page. Connect with Tisha on her website www.tishamartin.com and engage in the conversation.

 

Categories
The Picky Pen

Editing the Scene by Tisha Martin

When I first started writing back in the dark ages, my scenes were terrible. I didn’t have anything for my readers to look at.

No alluring sunset that reminded the reader of a mixed bag of Starburst, no grassy knoll within the confines of a wooden fence, and certainly no Paint horses with ears pricked forward in earnestness at what they saw.

Setting the scene for your writing requires more than asking six general journalism questions (5 W’s and H).

Accurately setting the scene requires three things:

  1. Try to Visit the Area You’re Writing About

If you’re writing about a space abduction, then obviously you are free to use your imagination. But if you’re writing historical or contemporary fiction or memoirs, then accuracy is key. Perhaps you may need to visit the location or setting you’re writing about in your story.

A few years ago, I wrote a short story that finaled in a college commencement contest. In “Puddle of Remorse,” a WWII story set on the American home front, my character was going through the process of canning tomatoes in her farmhouse kitchen. Since I grew up on a farm and canned salsa every summer, I knew the surroundings for the setting I was describing. And for the contest, I scored huge points in the accuracy department because I was familiar with the scene’s surroundings and the location.

The scenes I’m working on now requires much more research because I am not familiar with the location, a polio ward in a hospital in 1943. There’s a trip to my computer desk to search Pinterest and Google for images that suit my setting. Youtube is also a great resource if you’re not able to travel, or if you need visual research for historical details, settings, and places.

What’s even better than Pinterest and Google are the Historical Societies in the area you’re writing about. I contacted my local Historical Society and in just a few questions, I gathered way more information than I needed (which, by the way, is also perfect for future author interviews, blog posts, and making connections with readers who love those little details you had to leave out in your story).

  1. Talk to the Locals

Sometimes a quick chat with a local can lead to a lot of helpful information. As writers, it may be out-of-character to step out of the introvert zone and ask a question or start a conversation, but if you take a deep breath and do it, you’ll find it super rewarding. All it takes is walking up to a local, asking one question, and letting them talk the rest of the time! (I’ve had it happen!)

People like to talk about what they know, and it’s so much fun to listen.

For my hospital scene, I took a trip to Facebook and jumped on the post-polio group that I belong to and asked a bunch of questions. Pleasantly, I received a lot of helpful and detailed information for what I’m trying to describe. And, I’m thoroughly excited for the scenes I have the privilege of rewriting!

  1. Take Photos of Everything

Even if you don’t like to take pictures—which I can’t imagine writers not liking—bring your camera anyway. You never know what you might find that will help give you a visual image of what you’re writing about. (A specific chair that you want to incorporate into the kitchen, or a restaurant that has the perfect table setting for your character’s first date.) And you can even print out the photo and prop it up at your computer desk for inspiration.

Also, if you have access to grandpa’s or grandma’s family photos, this is gold for you. I have a few photos from my heritage, and I love squinting at the black-and-white photos to get a taste for how to describe what my Great Aunt Icy (yes, that was her name) wore, or how to describe Great Uncle Oscar’s horse racing cart. Tangible is always good. Pinterest is also another great resource—you can become a digital hoarder of so many photos and no one will ever know. (I have a few boards of my own. . .)

Over the years I’ve learned a few things about setting each of my scenes. However, I am not a perfect writer and must go back and edit to make sure each chapter begins with my main character and describes what she sees, and that gives readers something with which to resonate with and enjoy.

So, pull up your current trouble-child scene in Word or whatever platform you use, and happy scene writing and making every scene well worth the reader’s and character’s journey.

Discussion: How do you start your story scenes?

Owner of TM Editorial, Tisha Martin specializes in historical fiction, academic editing, and creative nonfiction. An active member of American Christian Fiction Writers and The Christian PEN, she appreciates the writing and editing communities. By being a writer and an editor, she’s tickled to have the best of both worlds. Tisha is editor and proofreader for beginning and best-selling writers, professional editing agencies, and publishing houses. As Assistant Director of PENCON, a conference for editors, she enjoys organizing the conference, networking, and sharing news on PENCON’s Facebook Page. Connect with Tisha on FacebookInstagram, or follow her Pinterest board for writers and editors.

Categories
Grammar and Grace

How Do You Write Compound Words? (Part 1)

A friend of mine edited my latest manuscript for me. She mentioned that I have a tendency toward not writing compound words correctly. I’m thinking I may not be the only person who struggles with compound words. I’ve begun a list of those pesky words. Here’s the first installment. Sorry the three columns of my original document shows up as one here!

aboveboard

afterglow

afterimage

afterlife

afternoon

aircraft

airfield

airlift

airline

airmen

airplane

airport

airtime

allover

allspice

alongside

also

another

anybody

anyhow

anymore

anyone

anyone

anyplace

anytime

anyway

anywhere

around

ashtray

babysitter

backache

backache

backbite

backbite

backbone

backbone

backbreaker

backdrop

backfire

background

backhand

backlash

backlog

backpack

backside

backslap

backslide

backspace

backspin

backstage

backstroke

backtrack

backward

ballpark

ballroom

bankbook

bankroll

baseball

basketball

beachcomb

bedclothes

bedrock

bedroll

bedroom

bellbottom

bellboy

bellhop

below

blackball

blackberries

blackbird

blackboard

blackjack

blacklist

blackmail

blackout

blacksmith

blacktop

blowgun

bluebell

blueberry

bluebird

bluefish

bluegrass

blueprint

boardwalk

bodyguard

bodywork

boldface

bookcase

bookend

bookkeeper

bookmark

bookmobile

bookseller

bookshelf

bookstore

bookworm

bootstrap

bowlegs

bowtie

brainchild

brainwash

butterball

buttercup

butterfingers

butterflies

buttermilk

butternut

butterscotch

bypass

cabdriver

cancan

candlelight

candlestick

cannot

cardboard

cardsharp

cardstock

carefree

caretaker

careworn

carfare

cargo

carhop

carload

carpetbagger

carpool

carport

carrack

carryall

carsick

cartwheel

cattail

catwalk

caveman

cheeseburger

cheesecake

clockwise

coffeemaker

comeback

comeback

comedown

commonplace

commonwealth

cornmeal

courthouse

courtyard

crossbow

crossbreed

crosscut

crosswalk

dairymaid

daisywheel

daybed

daybook

daybreak

daydream

daylight

daytime

deadline

dishcloth

dishpan

dishwasher

dishwater

dogwood

doorstop

downbeat

drawbridge

driveway

duckbill

duckpin

duckweed

earache

eardrop

eardrum

earring

earthbound

earthquake

earthward

earthworm

egghead

eggshell

elsewhere

everything

eyeballs

eyeglasses

eyelash

eyelid

eyesight

eyesight

eyewitness

fatherland

firearm

fireball

fireboat

firebomb

firebreak

firecracker

firefighter

fireflies

firehouse

fireproof

firewater

fireworks

fishbowl

fisherman

fisheye

fishhook

fishlike

fishmonger

fishnet

fishpond

fishtail

football

foothill

footlights

footlocker

footnote

footprints

footrest

forbearer

forearm

forebear

forebrain

forecast

forecastle

foreclose

foreclosure

forefather

forefeet

forefinger

forefoot

forego

foregone

foreground

forehand

forehead

foreknowledge

foreleg

foreman

foremost

forepaws

foresee

foreshadow

foresight

forestall

forethought

foretold

forewarn

foreword

forklift

fortnight

friendship

gearshift

glassmaking

goodbye

goodnight

grandaunt

grandchild

grandchildren

granddaughter

grandfather

grandmaster

grandmother

grandnephew

grandnieces

grandparent

grandson

grandstand

granduncle

grasshopper

grassland

graveyard

gumball

haircut

hamburger

hammerhead

handbook

handcuff

handgun

handmade

handout

headache

headdress

headlight

headline

headquarters

hereafter

hereby

herein

hereupon

herself

highball

highchair

highland

highway

himself

homemade

hometown

I’ll add more next time.

Happy writing!

Hope Toler Dougherty holds a Master’s degree in English and taught at East Carolina University and York Technical College. Her publications include three novels Irish Encounter and Mars…With Venus Rising, and Rescued Hearts as well as nonfiction articles. A member of ACFW, RWA, and SinC, she writes for SeriousWriter.com. She and her husband live in North Carolina and enjoy visits with their two daughters and twin sons.

Author of Rescued Hearts
               Irish Encounter
              Mars…With Venus Rising
Visit Hope at www.hopetolerdougherty.com
Categories
The Picky Pen

Editing the Beginning By Tisha Martin

With my cursor at Chapter 1 in my WWII historical fiction novel, I hit Ctrl+Enter and sighed. Beginning a book all over again wasn’t what I had in mind. I liked this chapter. I mean, really liked it, even though everyone else said it wasn’t quite right. Forever, why? Why must I abandon these pages and start fresh, like erasing a favorite drawing of a flower but one petal was lopsided.

Two contests, a writing conference, and two agents later, my intuition solidified into a clear direction of where this chapter needed to begin. None of the critics’ comments were overly negative, and most of them enjoyed the few chapters I had submitted. But my first chapter lacked … heart, GPC (goal, problem, care), and solid reasons why things were happening the very moment the story began.

Beginnings

How many of you have revisited this elusive beginning, struggling to create a first chapter that pops! off the page?

I’ve always struggled to write beginnings. I’m sure I’m not the only one—and there are writers who dislike middles and endings, too.

Who are these characters, what is their goal and problem, and why do you want readers to care?

In addition to Goal, Problem, and Care, here are three things I learned about editing the first chapter that helped me introduce the GPC:

  1. Introduce main characters and continuing action early in the first page.Your readers must have a reason to continue to the second and third page and eventually the last page in as few sittings as possible. Maybe your character is afraid to drive over a bridge but must because her boyfriend sent her on a scavenger hunt, or perhaps your character must capture a rattlesnake because his friend dared him. Your first page should pop! with action that includes a huge goal with a problem your main characters must overcome by the book’s end.
  2. Give your characters lively dialogue.You want your readers to laugh and relate with your characters. The old “How are you?” “I’m fine, how are you?” type of dialogue doesn’t work anymore.
  3. Don’t overwrite.Simple is always best. Make Strunk and White proud of you!

Simple writing is sometimes hard for me because I love to describe things; however, too much is not good and hurts your writing and may frustrate your readers. I love reading Anne of Green Gables, but I have a hard time staying engaged with the verbose descriptions; in Ms. Montgomery’s defense, her readers enjoyed lengthy descriptions. Today’s readers want a quick read they can enjoy.

After taking an honest and humble look at my first chapter based on the judges’ and agents’ comments, I’m glad I started over. I spent a few days pounding out a new first chapter, and it’s stronger because I’ve given my characters a goal to look forward to, a problem that stands in their way, and my readers something to care about.

Now, excuse me while I edit this post to ensure I’ve engaged you, helped you relate, and caused you to want to continue reading it.

Discussion: What is your WIP’s first chapter about? Can you describe it in Goal, Problem, and Care?

Bio:

Owner of TM Editorial, Tisha Martin specializes in historical fiction, academic editing, and creative nonfiction. An active member of American Christian Fiction Writers and The Christian PEN, she appreciates the writing and editing communities. Tisha is editor and proofreader for beginning and best-selling writers, professional editing agencies, and publishing houses. As Assistant Director of PENCON, a conference for editors, she enjoys organizing the conference, networking, and sharing news on PENCON’s Facebook Page. Connect with Tisha on Facebook, Instagram, or follow her Pinterest board for writers and editors.

Categories
Grammar and Grace

Choose the Correct Pronoun by Hope Toler Dougherty

Please stop using pronouns wrong!

Between you and I, I’m sick of people using the wrong pronoun. Wrong. Wrong. Wrong!

Don’t invite Kevin and I to a Super Bowl party this year.  Wrong. Wrong. Wrong!

Are you guilty of saying or writing sentences like the previous ones? You are not alone. I hear TV news anchors torture the language with the wrong pronoun. No, you’re not alone, but you are wrong.  You can, however, learn to use pronouns properly.

Here’s a post that explains correct usage:

http://www.almostanauthor.com/choose-correct-pronoun/.

And here’s one more post just in case you need more explanation about pronouns:

What are Pronouns?

You can learn the correct form. I’m sure of it.

Good luck and happy writing!

Hope Toler Dougherty holds a Master’s degree in English and taught at East Carolina University and York Technical College. Her publications include three novels Irish Encounter and Mars…With Venus Rising, and Rescued Hearts as well as nonfiction articles. A member of ACFW, RWA, and SinC, she writes for SeriousWriter.com. She and her husband live in North Carolina and enjoy visits with their two daughters and twin sons.

Author of Rescued Hearts
               Irish Encounter
              Mars…With Venus Rising
Visit Hope at www.hopetolerdougherty.com
Categories
Grammar and Grace

How to Address Christmas Cards the Right Way

Today, people love to communicate with texts and private Facebook messages and emails and tweets, but around Christmas people still send real cards through the mail.

Unfortunately, people are still making mistakes when it comes to pluralizing proper names in the addresses.

Here are some simple rules to follow so that you can write names correctly and make sure your cards convey the happy messages you intend.

  1. Add an s to a proper noun that doesn’t end in s to make it plural.

Langston = Langstons
Paterline = Paterlines
Haddock = Haddocks

  1. Don’t change the spelling of a proper noun to make the plural.

Dougherty = Doughertys (not Dougherties)

  1.  Add esto a name that ends in s, x, z, ch, or sh to make it plural.

Capps = Cappses ( I know it looks strange, but trust me.)
Wellons=Wellonses
Edwards = Edwardses
Crews = Crewses
Rakiewicz = Rakiewiczes

Notice that at no time have I used an apostrophe. I haven’t used one because I’m making the names plural, not possessive.

Three rules.

That’s all you need to write your Christmas cards correctly. If you can’t bring yourself to add the es to someone’s name or you can’t bring yourself to leave off the apostrophe, there’s always an easy fallback…Merry Christmas from The Dougherty Family.

Hope Toler Dougherty holds a Master’s degree in English and taught at East Carolina University and York Technical College. Her publications include two novels, Irish Encounter and Mars…With Venus Rising, as well as nonfiction articles. A member of ACFW, RWA, and SinC, she writes for SeriousWriter.com. She and her husband live in North Carolina and enjoy visits with their two daughters and twin sons. Visit her at hopetolerdougherty.com.

 

Categories
Editing Grammar and Grace

What’s a Conjunction?

This time let’s focus on conjunctions. Conjunctions are words that join other words, clauses, or phrases. Grammar consists of three kinds of conjunctions: coordinating, correlative, and subordinating.

A coordinating conjunction joins words, clauses, or phrases that are equal either in weight or function. Here’s a list of common coordinating conjunctions:

And
But
Or
Nor
For
Yet
So

Punctuating a coordinating conjunction depends on what the conjunction is joining.

*The movie was long and boring.  And is the conjunction joining two adjectives. No punctuation is needed.

*The cupcake was delicious but fattening.

*We meandered down a steep, curvy, and overgrown path.  And joins a series in this sentence. The comma here is the controversial Oxford comma. Some people delete it now. I don’t.

When a coordinating conjunction joins two sentences, punctuate with a comma before the conjunction.

*The Girl Scouts may sell cookies in front of the grocery store, or they may choose to sell at the ballgame.  The previous sentence has a subject and verb on both sides of the conjunction or.  The two smaller sentences are joined by a comma and a conjunction.

*The Girl Scouts may sell cookies in front of the grocery store or at the ballgame. In this sentence, or joins the two prepositional phrases in front of the grocery store and at the ballgame. No comma is needed because or is joining two phrases, not two sentences.

To punctuate sentences correctly, a writer should know which words are subjects and verbs and prepositions–exactly why we’re studying the parts of speech!

Questions?

Happy writing!

Categories
Grammar and Grace

Ready for Another Serving of Prepositions?

Have you memorized the list of prepositions yet? Trust me, quickly recognizing prepositions will help you in the long run because we’ll be layering more grammar knowledge based on the use of prepositions.

In the last post, we studied prepositions and prepositional phrases. Remember, a phrase is a group of connected words that doesn’t contain a subject or a verb.

This time we’ll discuss subordinate clauses that begin with prepositions.

Categories
Grammar and Grace

Prepositions?

We’re continuing with the parts of speech with a discussion about prepositions. These words never change their form. They link nouns, pronouns, or phrases to other words in a sentence. You may remember a hint from elementary school: a preposition is anything a squirrel can do to a log, or a plane can do to a cloud. It can go over, under, around, toward…

Here are some common prepositions:

about        behind        during            like            under
above        below          except            near           up
across       beneath      excluding       of               upon
after          beside         following        on              via
along         between     from               over            with
among      beyond       in                     since           within
as               by                including       through      without
at                despite       inside             to
before        down          into                 toward

(I wrote most of those prepositions by heart because my sixth grade teacher made her students memorize them.)

Some prepositions combine more than one word:

according to     except for              instead of               because of           in place of
along with         in addition to       on account of         by means of       in regard to
apart from         in case of              up to                         by way of           in spite of
as to                    in front of             with regard to        in place of          with reference to

A preposition along with its object and any modifiers become a prepositional phrase. Prepositional phrases act as adjectives and adverbs.

We went swimming after the party.  In the previous sentence, after the party is the prepositional phrase that tells when. In this sentence, phrase is acting like an adverb.

The baby with the pink bow is Mary Wade. In the previous sentence, with the pink bow is the prepositional phrase that tells which baby. It’s acting like an adjective.

This post simply introduces prepositions. Spend some time learning them. Next time, we’ll uncover more layers of the preposition.

Happy writing!

Categories
Grammar and Grace

Adverbs–How Do We Know?

 

Adverbs are words commonly used to describe or modify a verb, and adjective, or another adverb. To test whether or not a word is an adverb, ask these questions: “How? How often? To what degree? Where?”.

The following sentence shows four adverbs in Italics.

Earlier, Elsie had waited        there                very                             impatiently.

When?                                     Where?            To what degree?         How?

Earlier, there, and impatiently described the verb had waited. Very describes impatiently, another adverb.

Another common indicator of adverbs is the addition of  -ly at the end of a word.

             quietly, roughly, gingerly, softly, worldly

Many words that may function as adverbs do not end in –ly.  

often, sometimes, then, when, anywhere, anyplace, somewhere, somehow, somewhat
yesterday, Sunday, before, behind, ahead, seldom, never, not  

Also many adjectives do end in –ly.

womanly, manly, comely, costly

Confused yet?

Remember to ask questions about what the word is describing. If it describes a noun but ends in
-ly, it’s an adjective.

The comely cashier gave the crying toddler a lollypop. (Comely describes cashier, a noun.)

When writing fiction, relying on adverbs to show action is considered weak writing. Avoid using them. Replace with descriptive verbs instead.

The teenaged quarterback ran quickly up the front steps.    Weak

The teenaged quarterback bounded up the front steps.        Better

Happy writing!

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Write Justified

Sticks and Stones and Words Can Hurt

In anticipation of the upcoming presidential election cycle, prepare to hear some unsavory comments, even name-calling among candidates. Here’s a term you may not be familiar with and might hope you’re never called: lickspittle.

Lickspittle is a compound word, combining two Old English words—lick and spittle—neither particularly attractive activities. Spittle brings to mind the mixture of saliva and tobacco that cowboys are prone to hack up into (you guessed it) a spittoon. Both meanings are familiar: lick—to run the tongue over and spittle—a derivation of spit. But combine the two and you have one of many variations of a derogatory term for someone who flatters those in authority. In elementary school we knew them as a brownnosers or apple polishers. Some politicians might choose a less euphemistic term like: suckup, or sycophant, toady, lackey, or now that you know what it means—a lickspittle. The Free Dictionary calls a lickspittle a flattering or servile person. Servile—of or befitting a slave—captures the idea of someone bowing and scraping to the master. Subordinates who feel the need to flatter their superiors are in a form of bondage just as much as slaves are.

If, like me, you enjoy learning new words and how they become part of our vernacular, perhaps I’ve done you a service in introducing lickspittle to your vocabulary. On the other hand, [bctt tweet=”Christian maturity demands that we also know how and when (or whether) to use a word. #editing #writers”] As writers and editors concerned with communicating God’s truth with grace and love, lickspittle is probably not a word that should be rolling off our tongues. Words do have the power to hurt or heal, tear down or build up. Rather than identifying someone as a lickspittle, we ought to recognize the limits of their situation and lift them up instead of belittling them.

[bctt tweet=”Don’t be a “lickspittle”. #writer #amediting #editor” via=”no”]

 

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Grammar and Grace

Adjectives are Cool!

This month at Grammar and Grace we’re studying adjectives. Adjectives are words that tell something about a noun or a pronoun.

An easy point to remember about adjectives is that they normally come right before or right after the noun or pronoun.

*The red wheelbarrow rests beside the path.

*The donkey–tired and stubborn–refused to finish plowing the field.

Adjectives that come after a verb (usually linking verbs) modify or describe the subject. These adjectives are called predicate adjectives.

*The pesto is yummy.

Adjectives can tell something about appearance–spectacular, nubby; color–black, gold; condition–bashful, intelligent; personality–victorious, ditzy; quantity–empty, packed; shape–snake-like, plump; time–early, retro; taste–sour, bland; touch–sizzling, velvety. (Yes, I agree. Some of these adjectives fit in more than one category.)

Do you notice anything about the adjectives? They don’t end with similar letters that shout, “Hey, I’m an adjective.” Just remember, if a word gives more information about a noun–how many fingers? Five–or if it makes a noun distinct from another noun–the red car, not the blue one–it’s an adjective.

Happy writing!

 

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Write Justified

The Times They Are A-Changin’

As languages go, English is fairly young. It’s been about 1400 years since the Anglo-Saxons imported English into Great Britain. And the struggle to adapt continues because language is dynamic. The English language continues to adjust to changes in word usage and new words that make their way into the vernacular. Just this year, Merriam-Webster added 1000 new words to its dictionary.

It’s our job as writers and editors to keep abreast of such changes and accepted usages. While we may not adapt every new coinage, we need to know what is acceptable usage in the publishing world—thanks to authorities like Merriam-Webster and the Chicago Manual of Style (CMoS). With the 17th edition of CMoS due out in September, here’s a heads up on three changes that are likely to have the greatest impact on your writing/editing.

  • E-mail will become email—no hyphen. This is a progression that many additions to the language make—moving from a hyphenated to closed compound. While some style guides have been rendering email as closed for some time already, when CMoS does so, it’s official.
  • Internet becomes internet—lower cased.
  • Singular they is acceptable in some cases. Although the pronoun they usually refers to a plural antecedent, CMoS acknowledges it can also refer to a singular antecedent. In cases where the gender of the antecedent is not known, the singular they is acceptable, rather than the generic he or the cumbersome he/she. Truth is, this is the way most of us speak. So, in informal writing the following is permitted:

Whoever ratted out the thieves should get an award for their honesty.

Who wants cheese on their burger?

              Keep in mind that singular they, like singular you is treated as a grammatical plural and takes a plural verb:

They have seven PhDs among them.

Their degrees are in the sciences.

Never let anyone tell you English is a staid language. Sometimes, it’s all an editor can do to keep up with the changes.

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Grammar and Grace

What are Pronouns?

 

A pronoun is a word that can take the place of a noun in a sentence which means pronouns can work as subjects, objects, and complements. Pronouns come in different forms and are used for different purposes.

Pronouns can be personal, indefinite, reflexive and intensive, demonstrative, relative, possessive, and interrogative. For this post, we’ll focus on personal pronouns.

Compared to nouns that can be descriptive on their own and especially with an added adjective, pronouns might seem bland. Without them, however, sentences would be boring, awkward, and maybe a tad silly. Take a look at the following sentences.

With pronouns: Anna designed the pattern, cut it out, fitted it to her mom, and sewed it.

Without pronouns: Anna designed the pattern, cut out the pattern, fitted the pattern to Anna’s mom, and sewed the pattern.

Personal pronouns refer to one or more people and are classified according to case: subjective, objective, or possessive.

Subjective Case                     Objective Case                       Possessive Case
I                       We                       Me                   Us                          My, Mine                    Ours
You                 You                      You                 You                         Your, Yours                Your, Yours
He, She, It     They                   Him, Her, It   Them                    His, Her, Hers, Its    Their, Theirs

*Remember that subjective case pronouns are used as subjects or subject complements. Objective case pronouns are used as indirect objects, direct objects, and objects of prepositions. (They can also be subjects or objects of infinitives, but that’s a subject for a future post.)

*Remember to make certain that pronouns refer clearly to their antecedents, the word they’re replacing. Keep them as close as possible to the antecedent.

*Remember to make pronouns agree in number with the antecedents.

Check out this earlier post for more information about pronoun usage and agreement http://www.almostanauthor.com/choose-correct-pronoun/.

Do you have questions about pronouns?

Happy writing!

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Write Justified

Can You Hear It Now?

A number of grammatical faux pas can be attributed to faulty hearing. I’m not implying that any of you are going deaf, only that when we speak we tend to run our words together. Lyrics and common phrases are often misunderstood. Remember the child who thought John was Jesus’s earthly dad? What else was Round John doing at the manger? A mondegreen of the phrase “round yon virgin” from “Silent Night” sounded like Round John to his young ears.

Recently, a retired pastor posed a question to a denominational network about the best way to dispose of his sizable library. “Do you give your books away,” he asked. “Or sell them in mass?”

The wiseacre in me wanted to respond, “Hmmm, not sure how open the Catholics would be to your hawking your Protestant tomes in their service, but you could give it a go.”

My better nature realized the pastor was writing what he’d heard, when what he meant was en masse—the adverb meaning in a body or as a whole. Borrowed from the French, en masse, does literally mean in a group, but English renders it en masse. In addition, the correct pronunciation is on mass.

You’ll want to avoid this and other eggcorns—misunderstanding and therefore miswriting of common phrases—in your writing. So here are a few others to watch out for:

  • Not intensive purposes, but intents and purposes
  • Not doggy dog world, but dog eat dog world
  • Not butt naked, but buck naked
  • Not beckon call, but beck and call
  • Not road to hoe, but row to hoe

While this doesn’t technically qualify as an eggcorn, it’s not unusual to see someone write something like: “I coulda been there on time, if I woulda started earlier.” Sometimes the offense is written could of. While your ear may hear coulda or could of, the correct rendition is could have or more likely the contracted form could’ve.

Could, would, should, and must belong to the family of verbs. As auxiliary or helping verbs, they always occur in a phrase, along with other verbs. Of is a preposition, not a verb, so does not properly belong in a verb phrase with could, would or should.

Here’s to better hearing and error-free writing.

You can find more eggcorns at http://grammarist.com/mondegreens/

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Grammar and Grace

What are Nouns?

This time we’ll discuss nouns. Nouns can be common or proper. A common noun is a person, place, or thing. A noun also includes a quality, an idea, or an action. A proper noun is a specific person, place, or thing.

  1. A church sits at the curve of the road. We have three common nouns in that sentence—church, curve, and road.
  2. Love Memorial Church sits on the curve of Rains Mill Road. Notice the changes in this sentence. Church has become specific by being named. When it is specific, it’s capitalized. The same thing happens to road. Curve is still common and doesn’t take a capital letter.

Nouns are typically used in a sentence as the subject, the object of a verb, or the object of a preposition. In the first sentence, church is the subject. Curve and road are objects of the prepositions at and of.

  1. We ate the chocolate mousse before dinner. In this sentence, mousse is the object of ate.

An important thing to remember is to capitalize proper nouns.

  1. I took a math class. Math or class isn’t capitalized because it’s not specific.
  2. Breanna almost failed Calculus III in high school. Calculus is capitalized because it’s the specific name of a class.

Exceptions to capitalizing courses are language classes. Always capitalize language classes like English, Chinese, and Arabic.

Nouns are pretty easy to understand, but they’re also very important in a sentence. Having a handle on what nouns do will help you understand more complex grammar points later.

Happy writing!

 

 

 

 

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Write Justified

Is that a Question? Or Not?

 

This may seem hard to believe, but[bctt tweet=” … not every question requires a question mark” username=””.]

How often don’t you ask a rhetorical question. One that you really don’t expect an answer to. (Like the first sentence in this paragraph.)

So when does a question need a question mark?

When you expect an answer.

Direct questions—the kind journalists ask to get a story—demand an answer. We call them the 5 (or 6) Ws: who, what, when, where, why and how.

What happened? Who was involved? When did it happen? Where? Why? How? Direct questions almost always begin with some variation of the 5 W’s. If one of them isn’t the first word in the sentence, it’s probably in there some place, like: “Well, just what are you doing in there?” or “Just who do you think you are?”

Sentences that begin with a being verb like are, is, were and the like also indicate a direction question.

Are you alone?

Do you love me?

Is this the best you can do?

All these questions demand an answer and a question mark.

Sometimes we pose indirect questions—questions that we really don’t expect an answer to.

They may be questions you’re posing to yourself:

Now, why did I come in here? (Then again, you may be looking for that answer.)

They may be relating something in the past tense:

I asked her what the problem was.

They may be rhetorical questions, like–
What’s up with that.

No one really expects an answer to a question like that. And neither do these indirect questions require question marks.

Got it?

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Write Justified

Beware These Confusables

 

Because spellcheck, wonderful as it may be, doesn’t catch words used improperly …

And because the English language has more than its fair share of homophones …

This month’s post alerts you to five sets of words that are prone to misuse.

Let’s start with a 3fer.

  • Imminent – eminent – immanent

The most common of the three is eminent, meaning “distinguished, of good repute.” It is commonly replaced with imminent, meaning “certain, very near.”

The arrival of the eminent professor is imminent.

Immanent is primarily a theological term. It means “inherent,” or “restricted to the mind.”

John Brown’s immanent belief in abolition motivated his attack on Harper’s Ferry.

  • Complacent – complaisant

These two adjectives with corresponding nouns (complacency, complaisance) share a Latin root, complacere, meaning to please or be pleasant. In English, however, they have morphed into different meanings. To be complacent is to be self-satisfied or so pleased with yourself that you’re smug, self-righteous, conceited.

Complaisant, on the other hand, refers to a desire to please to the extent one might be considered a pushover.

“I’m worried that Junior is too complacent about his grades and won’t be able to get into an Ivy League school,” Mrs. Jones complained.

 The widow’s complaisance made her an easy target for scammers.

  • Descent – decent  -dissent constitute another threesome that are sometimes confused.

Use the adjective decent to describe something wholesome, in good condition, appropriate, or modest.

The newlyweds’ apartment was in a decent part of town.

Descent is a noun that refers to a downward slope or in a downward direction as well as birth or lineage.

The descent may seem like the easiest part of a mountain hike, but experts say that’s when most falls occur.

In the ancient world, the line of descent was usually to the oldest son.

Decent and descent are not true homophones because they are not pronounced the same. Decent rhymes with recent, with the accent on the first syllable. Descent and its homophone dissent are pronounced with the accent on the second syllable: di SENT.

Dissent can be a verb, meaning to disagree, or a noun, meaning to have a different opinion.

The administration seemed unprepared for the level of dissent the executive order generated. Dissenting opinions were voiced throughout the country.

  • Altar – alter

Not only do these words have distinct meanings, they are different parts of speech.

Altar is always a noun—a place or structure on which sacrifices or incense are burned in worship. Alter is a verb, meaning to change or make different. Altar may also be used figuratively to describe something of great value or that is valued at the cost of something else.

Queen Elizabeth’s coronation took place at the altar in Westminster Abbey, forever altering the life of the young woman. Some suggest she sacrificed her own desires on the altar of the monarchy.

  • Rack-wrack

Finally, if you’ve ever racked your brain over the use of rack and wrack, well, you’re not alone. Even the experts concede this a confusing and complicated word pair.

The two words have different origins and meanings. The verb rack likely comes from the Dutch and means “to stretch,” while wrack comes from the Middle English for shipwreck. As a noun, rack has multiple meanings—a set of antlers, a frame for setting up pool balls, a horse’s gait, and the one applicable for this confusing twosome: a framework for stretching used as a medieval instrument of torture. And this is where we get the sense of suffering i.e. racking your brain, rack and ruin, though you’re just as likely to see wracking your brain and wrack and ruin.

What to do? It’s nerve-racking, for sure. Some advocate dropping the use of wrack. It’s an archaic term, they argue. Others, like Merriam-Webster, acknowledge wrack/rack as alternate spellings for the same word. Isn’t it nice to know that at least in this case, there’s more than one acceptable way to spell a word?

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Write Justified

The Common Comma – Part 3

 

Bryan Garner, author of A Dictionary of Modern American Usage, and a raft of other books on English language usage and style, calls the comma the least emphatic punctuation mark of all. While it may not have the impact of a period or semi-colon, marks that call for a full stop or pause, the comma’s primary role is a separator. And when it comes to clarity, that’s an important role.

Garner identifies nine uses for a comma. We’ve covered

We’ll finish this series with Garner’s final five.

  • Qualifying adjectives

When more than one adjective is describing a noun, separate them with commas if both can be true of the noun.

John’s worn, red sweater won the award for the company’s annual Ugly Christmas Sweater contest.

Since John’s sweater is both worn and red, the qualifying adjectives are separated with a comma. Note the tip here. If the comma could be replaced with and, the comma is needed.

When the adjectives describe the noun in different ways, or one adjective describes the other no comma is needed.

Repainting the bright pink walls was the first item on the new homeowners to do list.

Bright modifies pink, not walls. No comma.

  • Direct vs. indirect speech

When writing dialogue, use a comma to separate direct speech from indirect speech.

“My goodness,” Marjorie exclaimed, “look how that child has grown.”

  • Participial phrase

Introductory participial phrases are set off with a comma.

Famished after their ten-mile hike, the scouts lined up early for dinner.

Waiting for the bank to open, Margaret caught up on Facebook.

No comma is needed if the sentence is inverted and the phrase immediately precedes the verb.

Facing down the monster was the prince himself.

  • Salutation

I know it’s becoming a lost art—letter writing—that is. But should you have occasion to write a note or informal letter, insert a comma after the salutation. Dear John, Dear Sally,

That’s not a bad practice to carry over into those emails you dash off, either.

  • Parts of an address

Separate the elements of an address, as well as dates, when they are run in the text.

The package was shipped to 758 Potter Street, Hamlin, Missouri, by mistake.

The Declaration of Independence was signed on July 3, 1776, not July 4.

Punctuation, like language itself, evolves over time. What was once a preference for more commas— “close” style, has given way to an “open” approach using fewer commas. Some have gone as far as saying, “When in doubt, leave it out.” Keep in mind that[bctt tweet=” the whole reason we use punctuation is to make our writing as clear as possible” username=””]. You’ll be on the right path if you adhere to Bryan’s nine uses.

 

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Write Justified

Before You Hire an Editor

 

You’ve written your masterpiece. Or at least a short story, novel, or essay you believe worthy of publication. But is it? Other than your mother, who thinks everything you write is perfect, has anyone else laid eyes on your work? Is it really submission-ready?

Writers need editors. As a freelance editor, I hope that doesn’t conjure up an image of a stern-faced, red pen-wielding person whose only purpose in life is to make yours miserable. Far from it. Would you be surprised to learn that editors face each project with as much trepidation as you do when submitting a piece for their review? Though I can’t speak for others, I know that to be true for me. [bctt tweet=”My goal is to help you make your writing say exactly what you mean in as clear and understandable language as possible.” username=””] Peter Fallon describes the relationship between writer and editor as more of a duet than a duel. It ought to be a collaborative, not adversarial relationship, intended to make your writing sing.

Assuming I’ve convinced you that you need an editor, here are three things to do before passing your work off to a professional.

  1. Format:    Standard publishing format calls for one-inch margins, 12 point font, typically Times New Roman, double-spaced with one space between sentences. Yes, if you learned to type on a typewriter, you learned to put two spaces between sentences. And habits die hard. But in the computer age with proportional fonts, just hit that space bar once after a period or other end punctuation.
  2. Spell-check:    Do run spell-check, even though it won’t catch all the errors. Spell-check won’t find homophone errors or actual words used incorrectly. But it can eliminate extra spaces, double periods, and other kinds of errors that creep in when you’re in the zone and the fingers are moving faster than the brain.
  3. Critique:   One of the best things a writer can do is seek out other writers who will honestly critique her work. Whether you join a group such as Word Weavers or search out an accountability partner who can also offer meaningful feedback, you need someone to look at your work with unbiased eyes. As a reader would. A good critique will point out the positive and negative aspects of your writing and suggest ways to clarify the language or engage the reader more effectively.

Aside from the value of the honest feedback of a critique, the camaraderie of other writers is essential for the often-lonely exercise of writing. It may be just the motivation you need to keep putting pen to paper.

These simple steps will save your editor time and frustration, save you money, and ensure the writer-editor relationship gets off to a good start. It may just be the beginning of a life-long friendship.

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Grammar and Grace

Let’s Talk About Verbs

Last time, I introduced the eight parts of speech. This time, we’ll focus on verbs.

I’m beginning with the verb because to be a complete sentence and not just a phrase or a fragment, a group of words has to have a verb. A verb is the action part of the sentence or the part that talks about being.

I am. That’s a sentence.

Steelers won. That’s a sentence, too. Of course, a better, more descriptive sentence might be something like—The fantastic Pittsburgh Steelers shut out the stinkin’ New England Patriots and won the Super Bowl.

To understand verbs, we must understand more than just the definition that a verb is a word that describes a state of action or being.

Agreement—A verb must agree with its subject. We’ll discuss this idea more in later posts once I introduce nouns.

Tenses—A verb tense tells the time of the action. To keep things simple, we’ll discuss past, present, and future tenses.

Present—I enjoy avocado on toast.

Past—I enjoyed avocado on toast yesterday.

Future—I will eat avocado on toast tomorrow.

Notice that the spelling of the verb changes for the past tense. Usually, adding the suffix -ed to a verb makes it past tense. For the future tense, I added a helping verb will.

Linking verbs—These verbs join a subject to its complement. Common linking verbs are be, am, is, are, was, were, been, being—forms of the verb to be. Verbs of the senses are also linking verbs—feel, smell, sound, look, seem, and taste.

Her voice sounded shrill. (Sounded links voice to shrill.)

She is the Olympic swimmer. (Is links she to swimmer.)

Helping verbs—These verbs are also called auxiliary verbs. They help form proper tenses. Common helping verses include the linking verbs as well as have, has, had, shall, will, may might, can, would, should, could, must, and ought.

Beth has invited several people to the Parade of Tables, but only two have accepted.

Irregular verbs—These verbs do not take an addition of the suffix -ed to form the simple past tense. Some irregular verbs include the following: eat/ate/eaten, see/saw/seen, come/came/come, drink/drank/drunk, drive/drove/driven.

This post is an attempt to remind readers about the function of verbs. Understanding the function will help make your writing clear, correct, and concise.

Do you have questions about verbs?

Happy writing!

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Grammar and Grace

Introducing the Eight Parts of Speech

For 2017, let’s understand the basics of English grammar by learning the eight parts of speech. They are the following:

Verb

Noun

Pronoun

Adjective

Adverb

Preposition

Conjunction

Interjection

All words are classified by the role they play in a sentence, or the work they do. Some words may be classified as two or three different parts of speech, but no word can be all eight. Some words will be classified as only one.

Here’s an example of one word in three different parts of speech. Brown can be an adjective, a noun, and a verb.

*The brown four-wheeler slid into the snow-covered ditch. (adjective)

*The brown in the painting overwhelmed the mood of the composition. (noun)

*Before placing the roast in the crock pot, brown the meat on all sides. (verb)

The word brown is used differently in all three sentences.

In the upcoming posts, we’ll learn about all the different parts of speech. Understanding the parts of speech will help in understanding future grammar and punctuation problems.

Happy writing!

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Write Justified

The Common Comma – Part II

 

The comma is one of those punctuation marks that has an outsized impact in relationship to its size. It’s the little but mighty mark of the punctuation world.

One place where a comma can make a big difference is in restrictive and nonrestrictive—or if you prefer—essential and nonessential clauses. Essential/restrictive clauses include necessary information that must not be set off with punctuation, such as these examples:

Jan and Perry bought the clock that chimes on the hour and half hour.

The fabric (that) Jenny needed to finish her project was backordered.

A theater that has served a small southern Missouri town for fifty years will close next month.

Nonrestrictive or nonessential clauses or phrases are set off with commas. Note how a slight change in the wording and punctuation changes the meaning of these sentences:

 The clock, which chimes on the hour and half hour, was Jan and Perry’s anniversary gift.

         Here the description (modifier) of the clock is not essential to the sentence and is set off in commas.)

The fabric, which was backordered, would not arrive before the project deadline.

The Omni Theater, which has served a small southern Missouri town for fifty years, will close next month.

       Making the clause nonrestrictive indicates that the Omni is one of several theaters in the small town. The previous sentence with its restrictive clause limits the closing to the theater that has served the town for fifty years.

Note the use of that and which. That is used for restrictive clauses, which for nonrestrictive. Nonrestrictive clauses could be eliminated without changing the basic meaning of a sentence, thus they are set off with commas.

Similar rules apply to appositives.

An appositive is a word or phrase modifying or describing a noun. A nonrestrictive appositive restates the noun or pronoun without changing the essential meaning of the sentence.

 Peggy’s husband, Robert, is a model train aficionado.

        Since Peggy has only one husband, the appositive Robert is nonessential and is set off in commas.

My brother John is five years younger than me.

I have more than one brother so it is essential to identify which one is younger. Here, John is a restrictive appositive; no comma.

Fredrick Backman’s debut novel, “A Man Called Ove,” is one of my favorite books.

An author can only have one debut novel, so either debut or the book title could be eliminated without changing the basic meaning of the sentence.

Backman’s novel A Man Called Ove has been on the New York Times Best Sellers list for more than forty weeks.

Backman’s debut novel is the only one to have been on the best seller list this long, thus the title restricts the modifier to that book and no comma is required.

Like language itself, punctuation rules are evolving—especially in the age of social media. But the publishing world still adheres to these. Aspiring authors ought to, also.

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Grammar and Grace

Presents for the Writer

For this post, I’m suggesting some books that you may want on your bookshelves or your may want to give as gifts to the other writers in your life.

William Strunk’s, The Elements of Style, has been a classic for almost a hundred years. Read it.

THE ELEMENTS OF STYLE (UPDATED 2011 EDITION) by [Strunk, William, Strunk Junior, William, William Strunk, The Elements of Style by]

Self-Editing For Fiction Writers by Renni Browne and Dave King is a must-have for writers. Read it, make notes, then read it again.

Eats, Shoots and Leaves by Lynne Truss shows grammar is necessary, but it can be fun. My copy came with a punctuation repair kit.

And just for fun, Sister Bernadette’s Barking Dog by Kitty Burns Florey is a quirky history of the lost art of diagramming sentences. I always thought diagramming sentences was fun. After reading this book, I know other people like it, too.

Happy writing!