Categories
The Picky Pen

Varying Sentence Structure

Do all of your sentences begin with “I,“ “we,” or a proper noun? Do all of them start with the word “the?” If so, this is a must-read for you. Writing that consists of simple sentences can seem very monotonous to readers and does not keep them engaged. You want there to be a flow to your passage. You do NOT want the reader to struggle getting through it, stopping and starting abruptly. Below are three key sentence variation strategies for bringing your passage from uninteresting to attention-grabbing.

Ways to vary sentence structure:

1.    Sentence Style/Structure

When it comes to sentence style and structure, I am mostly referring to the order of sentence elements. Although sentences should follow the basic sentence structure, they do not always have to be written in the order of subjectverb, and then object. We vary the way we speak, so we should do the same when we write. Sentence style and structure also pertains to the way phrases or clauses are combined. Playing with sentence order by adding, changing, or combining various elements can add pizzazz to a story.

Here are some ideas to get you started:

  • Changing the subject
  • Starting a sentence with an adverb
  • Starting a sentence with a prepositional phrase
  • Starting a sentence with a transition word or phrase
  • Using compound sentences (two independent clauses tied together with a coordinating conjunction)
  • Using complex sentences (sentences with a dependent and an independent clause)
  • Using compound-complex sentences (sentences that contain multiple independent clauses and at least one dependent clause)
  • Adding prepositional phrases

Here is an example:

  • She waited for the bus. She got on the bus. There were no seats.  For the first sentence, try starting with an adverb and changing the subject. Then add a dependent clause to the second sentence and combine it with the third sentence with a coordinating conjunction to make a complex-compound sentence. Notice how much more interesting it becomes.
  • Patiently, Camille waited for the bus. When it arrived, she got on the bus, but there were no seats.  Varying sentence style and structure can help keep your passage from sounding repetitive. It is very similar to word choice. If you use the same words or the same sentence structure throughout your story, readers quickly become bored, no matter what the topic may be.

2.    Sentence Length

Variety can also be as simple as using both short and long sentences throughout the passage. If a story consists of only brief sentences, there is no rhythm or flow. When there is a mix of both, it creates a rhythm that makes it much easier for the reader to follow. It allows for better comprehension, as well.  You can use short sentences to make a specific point, and longer sentences can go into more detail regarding the subject.

Read this paragraph consisting of only simple sentences. What do you notice?

My alarm did not go off this morning. I missed the train. I got to work late. My coffee spilled all over my blouse. I did not have anything to change into. The prospective employee was already waiting for me. It was embarrassing. Some of the interview questions were about punctuality and professional appearance. I hired the person on the spot. What a day!

Combine some of the sentences or lengthen them by adding transition words or phrases, and leave others short. You can see how this adds emphasis to the short sentences. It also adds to the flow and gives the paragraph somewhat of a rhythm.

My alarm did not go off this morning. Consequently, I missed the train and got to work late. Then, my coffee spilled all over my blouse, and I did not have anything to change into. The prospective employee was already waiting for me. Needless to say, it was embarrassing because some of the interview questions were about punctuality and professional appearance. I hired the person on the spot. What a day!

Be very careful, though, when creating compound and complex sentences. You want to ensure that that you are not using run-on sentences, as this will also make it difficult for the reader to follow.

3.    Sentence Type

Do you want to add a little more variety? Try changing the types of sentences that you use. You can use declarative, interrogative, and exclamatory sentences all in one passage. See how easy it is!

Use exclamatory sentences to add urgency or excitement. Interrogative sentences can help to organize a passage but can also help to engage the reader. They are a great way to clue the reader in on what the next section will be discussing.

When your passage contains sentences that vary in structure, length, and type, it tends to have a better flow. Additionally, it adds a tone or voice to your writing. They must, however, still be grammatically correct. It is always a good idea to have someone else read your writing. Reading it out loud is especially helpful, as well. These are very helpful ways to catch mistakes before your writing is out in the world.

And what does all this lead to? In case you didn’t already guess—It leads to readers who want to keep reading!

Heather Malone

Heather Malone writes children’s books that focus mainly on Montessori education, special education, and nonfiction. She also dabbles in fiction. Her nonfiction book, Montessori from A to Z, was published in 2023, and her blog on homeschooling students with disabilities using the Montessori method can be viewed at spedmontessorisolutions.com. Her passion is education, which is evidenced by spending over twenty-five years in the field before leaving the classroom to now provide technical assistance to school districts. She lives with her husband and son in Ohio and enjoys traveling to new places in her free time.

Categories
Writers Chat

Writers Chat Recap for October,Part 1

Writers Chat, hosted by Johnnie Alexander, Brandy Brow, and Melissa Stroh, is the show where we talk about all things writing, by writers and for writers!

“Because talking about writing is more fun than actually doing it.”

Panning for Sentence Gold with Ann Neumann

When we self-edit, we become like miners panning for gold, sifting through the sediment of first and second drafts in search of glittering flakes. And like miners, we can put our sediment–our sentences–through classifying screens of varying mesh size to reveal superfine prose. Grammar expert Ann Neumann (writing as Cate Touryan) guides us through the “grammar as gold” screening process in this episode of Writers Chat.

Watch the October 1st replay.

Ann Neumann: As a university instructor and editor, Ann has taught writing to homeschoolers other projects, she taught and redesigned the foundational grammar course for UC Berkeley’s editing certificate program. As an author, she writes fiction and creative nonfiction under her pen name, Cate Touryan. Her debut YA novel is slated for release in May 2025. She lives on California’s foggy but beautiful central coast with her husband, her Yorkie, and a rafter of turkeys—as in both a whole bunch of them and in the rafters.

Writer’s Journey: Unexpected Turns with Kathy Brasby

Kathy joins us to share the twists and unexpected turns of her writing journey. She shared how God used past situations, good and bad, for her good years later. She explains how creating a spiritual timeline (an exercise based on Henry Blackaby’s “Experiencing God”) can connect us to our writing. Our journeys, she says, can resemble “flinging paint colors” onto a canvas, then stepping back to see the pattern. In closing, Kathy reminds us that God communicates with our imaginations ~ He whispers into our imaginations.

Watch the October 8th Replay.

Kathy Brasby is a former journalist who focuses on storytelling in both fiction and non-fiction pieces. Her award-winning writing includes five published books. She has created and taught Bible studies for over thirty years. She holds a BA in English and an MA in Theological Studies. Her website is KathyBrasby.net

Disclaimer: The opinions and viewpoints presented by the cohosts and guests are their own and do not necessarily reflect the opinions and viewpoints of Writers Chat or Serious Writer, Inc.

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET
on Zoom. The permanent Zoom room link is: http://zoom.us/j/4074198133

Categories
Proofed and Polished

Common Mistakes I See When Proofreading: Vocabulary, Part 3

Let’s talk about contractions. I mentioned them last month in the context of using apostrophes correctly. Some words that are contracts are some of the frequent flier mistakes that trip up writers on a regular basis. Here are three to keep an eye on. 

1. You’re vs. your

“You’re” is the shortened form of “you” + “are”. 

Ex. “You’re definitely in trouble,” she said, shaking her head as she surveyed the utter disaster that had previously been the kitchen.

“Your” is possessive.

Ex. “Your dog has been in my yard every day this week. It has to stop!” Mr. Viking glared through smudged glasses and stalked away. 

Ex. “It seems that Mr. Viking has failed to recognize the irony of his statement,” Dan said, smirking while patting Mr. Pickles’ head. “He has been in your yard every day this week telling you you’re a menace.”

2. It’s vs. its

This error is one that probably gets more print space than any other common mistake out there, but it happens SO often that I’ll go ahead and add my two cents.

“It’s” is formed by “it” + “is”.

Ex. It’s time to start exercising again now that the kids are in school.

“Its” is possessive.

Ex. Its shell is dark green and brown.

Ex. It’s hard to tell what its favorite food is—lettuce or broccoli.

3. We’re vs. were vs. where

This last one is mostly tricky if the way that you pronounce these words is similar.

“We’re” is “we” + “are”.
“Were” is the past tense form of “to be”.

“Where” is either a noun or an adverb.

Ex. We’re [we are] excited to go on vacation, but where we are going, there were a lot of COVID cases, so now we’re [we are] worried.

A simple way to help you decide which form to use is to try both forms in the sentence that you’re writing. 

Decide between *your* and *you’re* in this sentence:

I hope you’re happy now. 

Do you want to say “I hope *you are* happy” or “I hope *your* happy”?? 

Of course, you mean to say *you are* which means you need the contraction “you’re” and not the possessive “your.”

What Do You Think?

Which of these three is the hardest for you? I still say “it is” to myself to make sure that it fits in any sentence I’m writing. 

Dayna Betz

Dayna Betz is a full-time freelancer providing proofreading and editing services to help writers put their best foot forward. She also enjoys reading and writing book reviews. Head over to her site, Betz Literary, to learn more.

Categories
Proofed and Polished

Self-Help Resources for Proofreading

Before you send off your precious manuscript to your editor, you probably want to make sure that it’s as polished as you can possibly get it. Why? While your editor will certainly help you with your proofreading errors, the real focus is supposed to be on the storyline itself. By presenting a well-proofread document, you ensure that your editor can concentrate on helping you to perfect the storyline instead of your grammar.

If you’re going to do the work of proofreading by yourself, it’s essential to have some good tools on hand to help you. Here are a few things I use when I’m proofreading.

1. A Spell Checker

The absolute simplest way to get started proofreading. Just make sure to actually run the check, and don’t just assume it’s being done automatically. Use the tool that comes with your word processor or download something like Grammarly to help you catch your mistakes.

2. A Dictionary

When I proofread, I always have a dictionary tab open on my computer. I most often use it when I think that a word is being misused and I need to check the definition. Most dictionaries also have a thesaurus feature which is useful for finding replacements for overused words. 

For the most part, the actual dictionary that you choose is up to you since you’re the author. Merriam-Webster is a classic, and it’s my go-to. However, you may find that a different dictionary is more beneficial for you depending on the style of your writing, where your story is located, or how technical your writing is.

3. Chicago Manual of Style

If you like rules, consider getting a subscription to Chicago Manual of Style Online. CMOS is the ultimate grammar nerd’s guide to every question you can possibly think to ask about nouns, verbs, adjective placement, quotation marks, capitalization—you name it, there’s a rule. The learning curve is a little steep. You sort of have to know what you’re looking for in order to search the database, but if you’re willing to take the time, it’s an incredibly detailed resource. You can do a 30-day free trial, and the annual subscription fee is very affordable.

4. Quick and Dirty Tips from Grammar Girl

If CMOS sounds too intense (it can definitely be confusing), look up Grammar Girl’s Quick and Dirty Tips. Now these are some accessible grammar tips. I struggle with the difference between the appropriate use of “that” versus “which”. Grammar Girl has the clearest explanation that I’ve found for how to decide which one to use. The articles are short, concise, and have practical examples to get you on the right track. 

5. The Best Punctuation Book, Period.

I’ve mentioned this book before and bears repeating. The Best Punctuation Book, Period by June Casagrande is truly the best. The sheer number of comma rules that exist can be totally overwhelming, so forget trying to actually use them! Casagrande breaks down each one in her book with simple explanations and tons of examples. This book is the middle ground between CMOS and Grammar Girl. Get a copy, you won’t be sorry you did.

6. Google

Obvious, perhaps, but worth mentioning. When I’m stuck, a simple Google search can do wonders. One thing that I really rely on Google for are standards for things that aren’t hard and fast rules. Over the course of the last year or so, there has been a lot of discussion about how to capitalize (or not) a person’s race. Is it capital B for Black or lowercase b? Does the same rule apply for White or not? I needed to answer this question (and how to properly write about covid-19) a number of times, so I turned to Google. I was able to look at reputable news sites to see what professional journalists were doing. For the question on race, there’s actually a blog on the Associated Press’s site that outlined the consensus they had reached on what was appropriate: APnews-race-and-ethnicity 

Now, the thing is that you may find a consensus, and you may not. When discussing race, CMOS didn’t want to commit to a formal change to the rules between editions, but in this article they did recommend using capital B and otherwise deferring to an author or editor’s preferences:

Ultimately, you and your editor will make decisions on things like this that don’t have a hard and fast rule, but Google can be a great resource to find out what other professional writers are doing.

Now you’re ready to proofread! If you still have questions on the process, look back at my very first post about tips for self-proofing for a polished product. Happy proofreading!

Dayna Betz

Dayna Betz is a full-time freelancer providing proofreading and editing services to help writers put their best foot forward. She also enjoys reading and writing book reviews. Head over to her site to learn more: betzliterary.com.

Categories
Guest Posts

Sculpting a Masterpiece

The beautiful prose that came to mind in the shower somehow transformed into clunky sentences by the time I got to the computer. The more I wrestled with the words, the more unwieldy they became.

I have often read that true writing is in the rewriting. Most of us are not satisfied with a first draft. We know it takes several passes before writing is shaped into something acceptable to show others

Yet I get frustrated going over and over sentences trying to make them both clear and winsome. Why is my thinking so muddled? Why do I take so many words to say what I mean?

Wordy written in red by my teacher often adorned my school compositions.

The person who performed my first paid critique mentioned my “long, convoluted sentences.”

My husband told me after we had dated for a while that he used to wonder when I’d get to the point when I told a story. (After being married for 40 years, I’ve learned to jump to the main point first, especially when talking about the car or an appliance. Otherwise, he spends my whole narrative wondering what he’s going to have to fix.)

Yet, I’ve received enough encouraging feedback from my writing that I am not totally without hope. And now that I am aware of my writing mistakes, I can battle them with determination and knowledge.

I’m encouraged by a legend concerning Michelangelo. Supposedly, someone asked him how he got the statue of David out of a hunk of marble. The artist is rumored to have said, “I just cut away everything that’s not David.”

Before we can create a work of art, we’ve got to drag out our hunk of marble. As many have said, we can edit a bad page, but we can’t edit a blank one. The marble that Michelangelo used had previously been considered and rejected by two other sculptors. He saw the potential in it that others missed.

So we dump the words in our head onto paper. We study the craft of writing and learn ways to “write tight.” We carve away unnecessary words and cumbersome descriptions. We chisel adverbs and polish with stronger verbs.  We sand away passive verbs in favor of active ones. We brush away clutter. We chip off  multitudes of facts and illustrations and keep only the most poignant ones. And we can pray with the Apostle Paul, “that I may make it clear, which is how I ought to speak” (Colossians 4:4).

Visualizing excess verbiage as clumps of rough stone adorning the statue of David helps encourage me to get rid of clutter-words in my writing.

A statue as detailed as David takes time to sculpt, and so does editing. Blaise Pascal once wrote in a letter, “I have made this longer than usual because I have not had time to make it shorter.” But the time is well worth it.

We might not become the Michelangelo of words. But we can sculpt our manuscripts as close to a masterpiece as possible.


Barbara Harper lives with her husband of 40 years in Knoxville, TN. They raised three sons, one of whom added a lovely daughter-in-law and an adorable grandson to the family. Barbara loves reading, writing, and card-making. She has blogged for almost 14 years at https://barbaraleeharper.com/. She wrote a newsletter for women at her church for 15 years as well as magazine articles, newspaper columns, and guest blog posts. One of her passions is encouraging women to get into the Word of God for themselves. She’s currently working on her first book-length project.

Categories
Proofed and Polished

Why Can’t We Just Agree? Subject-Verb Agreement

When I was teaching English Learners in high school, we spent A LOT of time studying subject-verb agreement. I did this every single year with every single level because I thoroughly enjoyed torturing my students with grammar rules it’s incredibly important! From high school students learning English to PhD candidates, from journalists to CEOs, a failure to grasp subject-verb agreement can make your writing look lousy! 

What is Subject-Verb Agreement?

From here on out, let’s use SVA when we’re talking about this topic because typing out subject-verb agreement over and over is tiring. 

Very simply, subjects and verbs in a sentence must agree in number. Here are a few examples.

Example 1

The dog jumps when he sees me.

“Dog” is the subject. “Dog” is singular, so we use the singular form of the verb, “jumps”.

Example 2

Many children run on the playground.

“Children” is the subject and it is plural (the word “many” helps us know that), so we have to use the plural form of the verb which is “run”.

You can’t say “the dog jump when he see me” or “many children runs on the playground” because then the subject and the verb are not in agreement about the number of subjects.

For most native English speakers, this comes pretty naturally so you’re feeling pretty good about these rules right now. However, there are a few tricky sentence structures that can trip up even the best of us if we’re not careful. Check these out.

Prepositional Phrases

As long as the subject and the verb are side-by-side, it’s pretty easy to keep track of SVA. However, when you’re writing more complex sentences, your subject and your verb might get separated. 

The floodlights in the yard suddenly turn on.

The subject is “floodlights”, but there are four words in between it and the verb (“turn”). Don’t get distracted by the prepositional phrase “in the yard”; it’s just telling you where the floodlights are located.

The boxes of brownie mix are sitting on the counter.

Brownies are delicious, but the subject we’re interested in is “boxes” (less delicious). Ignore “of brownie mix” and make sure that you’ve used the correct form of the verb “to be”, which is “are” in this case, to match your plural subject.

Conjunctions

Sometimes, you might have two subjects joined by a conjunction or a connecting word like “and”, “or”, or “nor”. When you see “and”, think about adding the subjects together. When you see “or” or “nor”, you can choose only one, and it has to be the one that is closer to the verb.

When I look outside, a racoon and her babies run across the yard away from the trash cans.

“Racoon and babies” is a plural subject because it is connected by the word “and”. Therefore, use “run” instead of “runs” for proper SVA.

My husband or some kitchen fairies have turned the box of brownies into a pan of brownies.

Here, “husband” and “fairies” are separated by the word “or”. In this case, we have to choose the kitchen fairies as the subject because it is closer to the verb. Bonus tip: The helping verb is the part that agrees with the subject, in this case, “have turned” instead of “has turned”.

Collective Nouns

When you talk about a group of people, you often use a singular verb. Words like “group”, “family”, “team”, and “congregation” are all singular subjects even though they refer to many people.

The team is packing the bus for the big game.

Of course, there are many people on the team, but because they are referred to as a singular entity (i.e., one team), a singular verb is used.

The congregation stands to sing at the end of the service.

The congregations come together to raise money for the food pantry.

Collective nouns can be made plural by adding an -s. 

Tricky Things

English is fun, so there are a few tricks that it likes to play.

1. Indefinite pronouns like either, neither, everyone, anyone, nobody, somebody, etc. are all singular.

Either of these sweaters is fine.

Although “sweaters” seems like it should be the subject, “either” swoops in to steal its thunder. The word “either” means that only one of those sweaters matters, and so the verb must be singular.

2. Some words that look plural take a singular verb.

I can’t believe how much negative news is out there.

“News” is not countable, so it takes a singular verb. Similarly, “civics”, “mathematics”, and “measles” also require singular verbs.

“Dollars” is tricky because it can be either singular or plural.

Twenty dollars is a lot of money when you’re ten years old. (Refers to the amount)

Dollars are used in the United States instead of pesos or pounds. (Refers to the physical dollars)

3. Phrases between commas that interrupt a subject and a verb such as “including”, “as well”, and “with” do not change the SVA of the sentence.

The author, as well as the editor, accepts the award at the ceremony.

Here, the author is the subject of the sentence, and so the verb agrees with the singular author. Although we’re being told that the editor also accepted an award, the phrasing basically makes it irrelevant and doesn’t affect the number in the subject.

How About You?

Do you notice that any of these rules trip you up? Do you have other words or phrases that always make you pause before you choose your verb form?

Dayna Betz is a full-time freelancer providing proofreading and editing services to help writers put their best foot forward. She also enjoys reading and writing book reviews. Head over to her site to learn more: https://betzliterary.com.

Categories
Kids Lit

Which Hat Shall I Wear Today?

  In January, I had the privilege of speaking about being a writer at a large private school near Chicago. But before my talk, as an added bonus, I had lunch with a group of award-winning student authors ranging in age from 5 to 13. (These students had been chosen to represent their individual classroom as “the best of the best” and read their work in front of the entire school.) So, while I chatted with these gifted wordsmiths in between bites of cheese pizza, I asked them: “Which was harder for you—writing or editing your story?” As I expected, all but one said the editing process had been way harder. Then, the one who didn’t jump on the editing bandwagon said something I’ll never forget.

 She very honestly admitted, “I had trouble with the writing process because I kept editing myself…”

That comment sparked a very interesting conversation about hats and one of my favorite books about writing, Dancing on the Head of a Pen: The Practice of a Writing Life by Robert Benson. In case you haven’t read it, Benson shares about the different hats he wears when crafting his amazing books. He sports a stylish beret when creating story. As he writes his “sloppy copy,” beret man is the guy in the chair. But once this first draft is safely recorded, he switches to his well-loved Yankees cap which he has lovingly named “Gamer”. He wears “Gamer” when editing. But Benson explains that bringing out “Gamer” too soon in the process can totally halt the creativity of “Beret man”—the artist.

 That’s what had happened to the student who confessed she’d really struggled with the writing process.

 “You switched hats too soon,” I told her, explaining Benson’s theory.

 What about you? Are you self-editing (and sometimes self-loathing) as you write and create children’s stories? Are you constantly fixing grammar and spelling or rewriting sentences three and four times before continuing on? If so, I feel your pain. I occasionally stifle my own creativity because I can’t get my baseball “Gamer” cap off my head. It just won’t budge! And, no matter how hard I try, I can’t create with “Gamer” calling the shots!

If you struggle with this premature switching of hats, here are three strategies you can implement to keep your beret safely in place as you create.

  • Write fast, really fast. Don’t give yourself the chance to edit. Just get that story down on paper or in that computer, whatever your process.
  •  Switch gears, not hats. The moment you feel yourself slipping into the editing mode, switch gears completely. For example, if you’re writing a picture book in narrative and you start to slip into editor mode, stop writing narrative and try writing your picture book in rhyme. That will get your creative juices flowing again and put your editor’s cap back on the hat rack.
  • Set the Mood with Music. This works well for me. If I’m creating, I have on “mood music” that awakens the creative part of me. So, when I was writing my book, “Get Your Spirit On! Devotions for Cheerleaders” I listened to all of the cheer music compilations that my daughters competed to when they cheered. That music was motivating and put me in the right mindset to write about “all things cheerleading.” But, when I am editing, I almost always listen to instrumental music. When the instrumental melodies fill my writing room, it instantly becomes my editing room. Maybe this tactic will work for you, too!

If you’re like the little girl who struggled with knowing which hat to wear—the beret or the Gamer—I hope you’ll try these three strategies. And, I recommend you purchase your own copy of Dancing on the Head of a Pen and glean from Benson’s genius. 

Michelle Medlock Adams is an award-winning journalist and best-selling author of over 90 books with close to 4 million sold. Her many journalism and book awards include top honors from the Associated Press, AWSA’s Golden Scroll for Best Children’s Book, and the Selah Award for Best Children’s Book. Michelle currently serves as President of Platinum Literary Services, a premier full-service literary firm; Chairman of the Board of Advisors for Serious Writer, Inc.; and a much sought-after speaker at writers conferences and women’s retreats all over the United States.  

When not writing or teaching writing, Michelle enjoys bass fishing and cheering on the Indiana University Basketball team, the Chicago Cubbies, and the LA Kings.

 Michelle is celebrating the recent release of her books, Get Your Spirit On!, Fabulous & Focused, Dinosaur Devotions, and C Is for Christmas, and she’s anticipating the upcoming release of What Is America? (Worthy Kids) and They Call Me Mom (Kregel), a devotional book she co-authored with Bethany Jett.

Categories
Devotions for Writers

Equipped for the Job

…Showing aptitude for every kind of learning, well informed, quick to understand, and qualified to serve in the king’s palace.

Daniel 1:4 (NIV)

Daniel is a larger-than-life hero to me. He seemed to handle being transplanted to Babylon with grace and ease. He adapted to the unfamiliar culture. He was a leader among his peers. Yet, I can’t imagine Daniel was born that way. Training began, and discipline was learned, early in life. A Jewish boy was tutored in the nuances of the Torah. He was taught to submit to authority, and to respect God.

In what way does a writer submit to authority? We show respect to the Lord when we respect those who guide our writing. Editors, publishers and agents all have a job to pull the best out of writers. We’re on the same team, the one looking to create a stellar product, and when one wins, we all win.

We also have to adapt to the culture of the book world. Marketing, social media, speaking and book signings are part of the place where we reside. For those of us who would rather stay behind the computer screen than to be out front, there’s hope. Writers’ conferences are available to teach various aspects of promotion, and organizations like Toastmasters stir up confidence in public speaking.

A most curious phrase comes from the passage; Daniel was qualified to serve in the king’s palace. How does someone become qualified, except by practice? So too, with a writer, by practicing, we hone the skill. We learn the disciplines of our trade. Of us, it will also be said, “they show aptitude for every kind of learning, they stay well informed about the topic, they are quick to understand another point of view, and are qualified to serve as scribes for the Eternal King!”

Exercise:

Daniel honed his intellect. Self-editing is one way we can hone our skills.

Look back over yesterday’s work (or the last piece of writing you worked on). Does it still sing to you? How do the words flow? Read it silently. Read it out loud. Read it, pausing between each sentence. What do you need to edit? What could be said more succinctly?

Could you submit it to a writing partner for a critique?

Remember, our goal is to honor the King of Kings. In order to serve in His palace, let’s dedicate ourselves to represent Him with our best!

Over 140 of Sally Ferguson’s devotionals have been published in Pathways to God (Warner Press). She’s also written for Light From The Word, Chautauqua Mirror, Just Between Us, Adult Span Curriculum, Thriving Family, Upgrade with Dawn and ezinearticles.com. Prose Contest Winner at 2017 Greater Philly Christian Writers Conference.

Sally loves organizing retreats and seeing relationships blossom in time away from the daily routine. Her ebook, How to Plan a Women’s Retreat is available on Amazon

Sally Ferguson lives in the beautiful countryside of Jamestown, NY with her husband and her dad.

Visit Sally’s blog at www.sallyferguson.net

Categories
The Picky Pen

Punctuation Series: How to Edit Hyphens

In the world of grammar and punctuation, there are three types of dash (hyphen, en dash, and em dash). “So what?” you say. “Ah,” but I say, “presentation is everything, especially when it comes to the publishing world. And your presentation of such a small thing as a dash is crucial to your book’s success.”

Working with the dash can be tricky, boring, and downright distressing at times. As a writer and an editor, I completely understand your frustration with grammar and punctuation altogether.

You’d rather write, right? Right! So let’s continue our focus on a simple, easy-to-understand punctuation series that I hope will be a help and encouragement to you—allowing you more time to write well.

If you feel like you’re back in grammar school, please take heart—and know that this isn’t going to be a boring, stuffy ‘nother grammar lesson.

It may seem like the dash is not important, but they are, especially if you use a lot of extra information in your prose or poetry. And that’s nearly every piece of writing, so I invite you to stay for this little journey. This is by no means an exhaustive list, but merely to give you a tool to use in your self-editing journey, should you choose to do so.

Why Paying Attention to the Dash Is Important

  • Appearance is everything, appearance is everything, appearance . . . yeah
  • The difference is subtle, like missing the road sign on the highway
  • Using the dash correctly shows you care about your story, your editor, and your readers

In this blog post, let’s look at one of the dashes, the hyphen. The plain and simple hyphen. And my text for today is The Chicago Manual of Style, chapter six.

The hyphen is part of the Dash Family, which you can read about em dashes and en dashes here.

Let’s differentiate the hyphen and the dashes, as I’m sure it gets confusing. I know you’d rather not focus on them at all, but it’s super easy once you have the tools! (Chicago Manual of Style 6.75).

  • Hyphen is one little tic: –
  • En dash is two little tics –
  • Em dash is three little tics —
  • *But you can find the dashes in the Symbols box in the Home ribbon.
    Don’t make the mistake and insert two hyphens (–) for the en dash and three hyphens for the em dash (—). It. Does. Not. Work. That. Way. 😊 If you want to know how, then finish reading this blog post and head on over the other two articles that talk about how to find and insert the en and em dashes . . . you’ll be glad you did!

Use hyphens with compound words. (Chicago Manual of Style 6.76).

  • Chicago 5.92 uses these hyphenated compound words and calls them phrasal adjectives.
  • Yep, this is where grammar tips collide with other grammar tips! So that means
  • Two hyphenated adjectives before a noun to describe it.
  • Like, yellow-bellied toads, slick-sliver rats, purple-tongued snakes. . .

A few rules about using phrasal adjectives . . .

  1. If the phrase comes before the noun, then hyphenate the words to avoid misreading or misunderstanding. Clarity is key!
  2. If the phrase is connected to a compound noun, then the entire phrase is hyphenated, such as chocolate-coffee-infused writers. This makes the relationship between the words clear, not to mention that commas would not work between the words at all.
  3. If there are more than one phrasal adjectives that describes the noun, then each phrasal adjective needs to be hyphenated because each element is super important: twentieth-century historical-element writing; state-inspected assisted-living home.
  4. For two phrasal adjectives that share the same noun, each phrase needs a hyphen between, showing that both phrases are related to the same noun. For instance, middle- and upper-classmen students (middle-classmen and upper-classmen); lower- and upper-elementary readers (lower-elementary and upper-elementary). 
  5. If the phrasal adjective includes reference to amount or duration, then don’t use the plural. For example, toddler stage is about two years, but for the phrasal adjective, two-year toddler stage. Or a bookstore that is open 24 hours a day would have a 24-hour-day schedule.
  6. Have a confusing phrasal adjective? Don’t fret—just rewrite the sentence! There’s no pressure or misunderstanding or going round the Merry-Go-Round when you simply rewrite the sentence. And it might even sound better too!

Exceptions, exceptions, exceptions! (Chicago Manual of Style 5.93).

If the phrasal adjective is after a linking verb, then the phrase is *not hyphenated because then that phrasal adjective is acting as a noun.

  • The athlete is well trained.
  • My writers’ group is a mix and match of genres and skills.

If the phrasal adjective begins with a Proper adjective, do not hyphenate!

  • Glouster Beach goers.
  • Clinton Anderson horse trainers.

If the two-word phrasal adjective includes an adverb, don’t use a hyphen.

  • A timely appointed meeting.
  • A roughly made coffee table.

Use Hyphens as Separators (Chicago Manual of Style 6.77).

  • Separate numbers that are not inclusive. Telephone numbers, social security numbers, or ISBNs.
  • Separate words and spelling out words.

    This is also helpful when your character is dictating over the phone. Or with spelling out words if a character uses American Sign Language.

    For example,
  • Your number is 123-555-4321
  • Tomorrow we hike Mountain R-a-n-i-e-r. (American Sign Language fingerspelling.)
  • My name is Tisha, that’s Tisha with an i, no r. Spelled T-i-s-h-a.

How’s that for a very brief introductory into using the hyphen that’s widely used but so often tricky to use?

Using the well-placed hyphen is important because your overall presentation makes a world of difference to your editor, agent, publisher, and readers. That may seem counterintuitive because the writing is equally important, but it’s the presentation that tends to enhance your credibility as a writer. (Especially if you self-publish and are doing your own first-draft editing.)

Pro Tip : I’m creating a few cheat sheets on some of the topics I’ve covered so far, and if you’d like to be in the loop for when they’ll be ready, just go to my website and email me, letting me know you’d like to be added to my Grammar List!! I look forward to seeing you!

Please take a minute and join in the discussion! I’d love to hear from you!

Conversation Time!!

Of the three Dash articles, which has been your favorite, and why?

(If you haven’t read the other two articles, go read them!! You might find them useful. Click here.)

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

Punctuation Series: How to Edit Modifiers

Presentation is everything, especially when it comes to the publishing world. And your presentation of punctuation is crucial to your book’s success. But punctuation can be tricky, boring, and downright distressing at times. As a writer and an editor, I completely understand your frustration with grammar altogether. You’d rather write, right? Right! So let’s continue our 2019 focus on a simple, easy-to-understand punctuation series that I hope will be a help and encouragement to you, allowing you more time to write well.

How to Edit Modifiers

Wait a minute, you say. Dangling, misplaced, or simultaneous modifiers does not fall into the category of punctuation. Eh, you have a point. However, might I propose that a dangling modifier has everything to do with commas, and that does point to using the best sentence structure for good punctuation results. Hang on—and I’ll show you what I mean.

Whether you write fiction or nonfiction, take notice. Misplaced modifiers are like the creepy crud of winter, and certainly not meant to be misused in your manuscript.

Why We Even Use Modifiers in the First Place

A modifier use in the beginning of your sentences modifies (or supports) the subject of the sentence. If that’s out of place, your sentence causes a misreading, which is not nice.

What IS a Modifier??

A modifier is a word usually ending in “ing” and is part of a word or phrase. A modifier describes the action or the subject. Feel better? I hope so!

What Are Poorly-placed Modifiers?

  • If the modifier does not describe the subject
  • If the modifier cannot be connected to the subject
  • If the modifier causes the reader any confusion about the subject and the verb’s purpose of the sentence
  • If the modifier happens at the same time the subject is doing the action

Dangling Modifier – does not connect to the subject of the sentence

Misplaced Modifier – is unclear about the action taking place

Simultaneous Modifier – creates confusion because two actions are happening at the same time

Let’s Dive In!

Dangling Modifiers

Sentence:

  • [Running down the street], the construction cones guided the cars

Problem:

  • Well, construction cones can’t run down the street, so this structure is unclear.
    Rewrite:
  • The cars drove in between the construction cones lining the street.
    Reason:
  • We made the cars the subject of the sentence, which it should be anyway, and this is a much clearer sentence.

Sentence:

  • [After offering a slice of bacon], the traveler was nourished to keep going.

Problem:

  • Okay, questions. . . Who offered the slice of bacon? And how can one piece of bacon nourish anyone?? I’d want a heaping pile! This sentence is uber unclear on so many levels!
    Rewrite:
  • After offering the weary traveler a plate of bacon, Rudy saw the man’s strength return.
    Reason:
  • We inserted a clear subject, completed the modifier so that it made sense, and gave the traveler more bacon!!

Misplaced Modifiers

Sentence:

  • The professor wrote a book about his experience in Prague on Saturday.

Problem:

  • Hmm, when did he write the book? Or when did he have the experiences? The action is totally unclear here.
    Rewrite:
  • On Saturday the professor wrote a book about his experience in Prague.
    Reason:
  • We placed the adverb at the beginning of the sentence, which establishes the professor’s action. Now we know what actually happened!

Sentence:

  • I met with my writer’s group where we talked about our characters’ actions on Tuesdays.

Problem:

  • So your characters only have actions on Tuesdays. What do they do on the other days?
    Rewrite:
  • I met with my writer’s group on Tuesday where we talked about character action.
    Reason:
  • We moved the adverb to when the group actually meets, and we adjusted the subject being talked about so that it made better sense.

Simultaneous Modifiers

Note: I have to say that this one is my favorite because I’ve committed this offense myself, and chuckle now when I catch it. This one truly is a psychological trick, but if we think through each action, this is a super easy fix!

Sentence:

  • Taking her shoes off, she put the milk in the fridge.

Problem:

  • She cannot take her shoes off and put the milk away at the same time. Not even if she’s a main character from your latest sci-fi or fantasy tale—there are certain rules that cannot be broken.
    Rewrite:
  • After taking off her shoes, she put the milk in the fridge.
    Reason:
  • We made the first part past action, and made the second part present action.

Sentence:

  • Hugging her parents, she tore into the bag of goodies.

Problem:

  • Again, this is impossible to do both at once. (No…not even if your character has two sets of hands! It’s just wrong.)
    Rewrite:
  • Grateful, she hugged her parents before tearing into the bag of goodies.
    Reason:
  • We set each action up as happening separately, with the most obvious order happening first. (Thanking and then opening.)

Using well-placed modifiers is important because presentation and sentence understanding makes a world of difference to an editor, agent, publisher, and readers. That may seem counterintuitive because the writing is equally important, but it’s the presentation that tends to enhance your credibility as a writer. (Especially if you self-publish and are doing your own first-draft editing.)

Next month, we’ll look at some more ways to edit the punctuation in your manuscript, but for now. . .

Please take a minute and join in the discussion! I’d love to hear from you!

What are some of your “pet” dangling modifiers?

Are there any of these sentences you would reword?

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

Punctuation Series: How to Capitalize Tricky Words

Presentation is everything, especially when it comes to the publishing world. And your presentation of punctuation is crucial to your book’s success. But punctuation can be tricky, boring, and downright distressing at times. As a writer and an editor, I completely understand your frustration with grammar altogether. You’d rather write, right? Right! So for 2019, I’d like to focus on a simple, easy-to-understand punctuation series that I hope will be a help and encouragement to you, allowing you more time to write well.

How to Capitalize Tricky Words

 It’s a truth universally acknowledged that capitalizing words are tricky. We want to make our manuscript as clean as can be for our editor because we want them to be more concerned about developing our content than fixing pesky punctuation errors … most of the time. (References used: Chicago Manual of Style [for manuscripts], The Associated Press Stylebook [for journalistic style], and Christian Writer’s Manual of Style [for biblical works or manuscripts], and Merriam Webster Online Dictionary [for everything].)

Whether you write fiction or nonfiction, take notice how to capitalize these words:

  1. Words using time reference.
  • a.m. [CMoS, AP]
  • p.m. [CMoS, AP]
  • eternity [CWMS]
  1. Words referring to Deity.
  • Abba (term for God, as in “Father” or “Daddy”) [CWMS]
  • the Almighty
  • almighty God (used as an adjective here)
  • Alpha and Omega
  • Angel of the Lord (a visible manifestation of God)
  • the Anointed One
  • blessed name
  • Chief Shepherd
  • the Crucified One
  • the Door, the Eternal, the Guide, the Head, the Holy One
  • Divine King
  • the Divinity (but “the divinity of Christ”)
  • Divine Father
  • God’s Son
  • God’s Word (the Bible)
  • God’s word (statement or promise)
  • Light of the World

This is certainly not an exhaustive list, but common words that are tricky to know how to capitalize.

  1. Words referring to education.
  • Master of Science
  • master’s, master’s degree
  • business degree
  • Bachelor of Writing
  • bachelor’s, bachelor’s degree
  • MFA

Again, not exhaustive, but gives you a general idea. All are from CMoS.

  1. Words referring to the Internet Age.
  • the Web (Merriam Webster dictionary), the web (AP)
  • webcast (AP)
  • webmaster (MW)
  • Wi-Fi (MW)
  • website (CMoS, AP)
  • internet (CWMS)
  • Internet (CMoS, MW)

Using correct capitalization is important because presentation makes a world of difference to an editor, agent, publisher, and readers. That may seem counterintuitive because the writing is equally important, but it’s the presentation that tends to enhance your credibility as a writer. (Especially of you self-publish and are doing your own editing.)

Next month, we’ll look at some more ways to edit the punctuation in your manuscript, but for now. . .

Please take a minute and join in the discussion! I’d love to hear from you!

What are some of your pesky capitalization words?  

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
Blogging Basics

How To Polish Your Blog With A Little Help

When meeting first time bloggers, I am often asked about hosting, web pages, and behind the scenes technical issues. Focusing on the technical side of blogging often overwhelms first time bloggers stifling creativity where it is needed most; in writing the blog itself. To conquer this problem, I suggest a homework assignment. Write three to six blogs in Word.

Two reasons I suggest this assignment. One, it helps with concept and organization. If I write six blogs, what will I write? What concepts do I want to share? Do I have enough content to maintain a weekly or a monthly blog? Two, having six created blogs ready to go, helps you then focus on the technical and marketing side of blogging when you are ready to go live. I offer to read their first two blogs checking for content, flow, and overall readability.

Last year I discovered an amazing resource to help with the heart of your blog: the actual writing and editing of blogging. I edited my second book using ProWritingAid. The following are my favorite features of this writing software program.

The Summary Report

My blog writing process starts with free writing. Without self-editing, I let my words flow on the page, mistakes and all. Without words on the page, you have nothing to edit. Then I self-edit without opening an editing software program. Once I am satisfied with flow and content, then I open ProWritingAid in Word.

Without words on the page, you have nothing to edit.

My Blog Writing Process

  1. Free Write
  2. Self-Edit
  3. Edit Using ProWritingAid

The Summary Report

This report offers an overall score for grammar, spelling, and style. I open this report first to get a sense of how much I need to edit the document. The goal is to have each category report a 100% score. If any score is lower than 100%, I select the individual report for review.

Grammar

Grammar suggestions appear in the right-hand column of your Word Document. Select the down arrow to read offered suggestions.

Examples:

  1. Sentence: A score of 100 for overall score. The report suggests: A score of 100 for an overall score. Action: Add an to the sentence.
  2. Sentence: An illness or disease like cancer. The report notes: Possible missing determiner. Change to: An illness or a disease like cancer. Action: Add a to the sentence.
  3. En-dashes: _ to –  . The report advises: En-dashes should never have a space on either side. Action: By selecting the suggested change, it automatically makes the update in Word.

Example #1:

Note: I also use Grammarly to check grammar as it also offers suggestions.  See free version at the end of the blog.

Spelling

The spelling check is found in the Grammar report and is straight forward. In this blog, I used the words Free Write. The spelling feature of ProWritingAid suggested I change my words to Fred Waite instead. In this case, I would select the green eye icon to override and hide this suggestion.

Style

This report checks for use of passive and hidden verbs. The report highlights areas for review and correction. Here is an example of a passive verb and a hidden verb discovered in the initial writing of this blog.

Passive Verb Example: Many people are overwhelmed

The report suggests: it overwhelms many people.

My corrected sentence: The technical side of blogging often overwhelms first time bloggers.

Hidden Verb Example: in the writing of the blog

The report suggests: No suggestions

My corrected sentence: in writing the blog itself.

Repeated Sentence Starts:

Another great feature of the style report is catching repeated sentence starts.

Example: I jumped in the pool. I shivered because the water chilled me to the core. I had to get out fast.

Change to: After diving into the pool, I shivered as the water chilled me to the core. In less than a minute, I swam to the side and leaped out.

Note: You can still obtain a 100% score by keeping two of your personal style preferences in the document. In editing my devotional, the program made a recommendation to correct a bible verse. I left the bible quotation “as is” leaving the integrity of the words in place and still received a score of 100 in the Style Report.

Readability

The readability report uses the Flesch Reading Ease, The Coleman -Liau Formula and The Automated Readability Index to return an overall score for this report. If your document is easy to read this report congratulates you. Otherwise, it highlights sentences you may want to re-write for easy reading for your audience.

In my initial writing of this blog, I wrote these two sentences:

Sample Sentences: This report offers a unique feature giving Estimated Reading Time. Great resource to offer your readers with limited time to read your blog.

But, the report flagged these sentences for readability by highlighting them in yellow as seen above. To change the sentence for a wider audience of readers, I made this adjustment:

Corrected Sentences: The readability report has a feature called, Estimated Reading Time. Using this resource will let your readers know how long it will take to read your blog.

Sticky

Another report to check for wordiness is the Sticky Report. The software checks your document for “Glue Words.” ProWritingAid shares “Glue words are the empty space that readers need to get through before they can get to your ideas. Generally, your sentences should contain less than 45% glue words. If they contain more, they should probably be re-written to increase clarity.”

They offer the following example:

  • ORIGINAL: Dave walked over into the back yard of the school in order to see if there was a new bicycle that he could use in his class. Glue index: 60.7% – Sentence length 27 words
  • REDRAFT: Dave checked the school’s back yard for a new bicycle to use in Glue index: 42.8% – Sentence length 14 words

Examples of Glue Words include in, on, the, was, for, that, will, and just.

All Repeats

This is my all-time favorite report of ProWritingAid. I attend a local critique group once a month where fellow writers read up to 1500 words of a work in progress. This group has helped me to grow as a writer over the years. They have helped me to avoid glue words and to catch duplicate words in my writing among other things. I recommend joining Word Weavers, not only for the critiques offered but the comradery.

Word Weavers Link: https://word-weavers.com

I use ProWritingAid to catch duplicate words before presenting my work to the critique group. This helps polish my document so my fellow writers can focus on the content presented.

This rainbow-colored report takes some getting used to at first, but it helps to identify changes to make your work shine. The following paragraph is from my October 2018 blog:

I remember the first time I saw a little person. I was about 8 years old. My mom brought me to the grocery store, and as we were leaving, I saw an adult dwarf. He had the short stature of child, but the facial features clearly showed he was an adult. Little did I know then, I would one day become the mother of a little person.

Each color highlights repeat words to review. Notice “an adult” is shown in orange because it appears twice in this paragraph. See the suggested change below.

The report suggests “a man” as an alternative. I could change the third sentence to read “a male dwarf” or “a middle-aged man who had dwarfism.”

You can also check for synonyms in the Thesaurus also included in the software.

In my opinion, this report alone is well worth the cost of ProWritingAid. If you feel this software would benefit your writing, see below.

Writing Software Costs:

In this blog, I’ve suggested ProWritingAid as a writing software option. Below are a few other programs for comparison.

Grammarly

Free Program: Critical grammar and spelling checks.

Premium: $139.95 a year, $59.95 quarterly or $29.95 a month. (Includes checks for punctuation, grammar, context, and sentence structure, and more.)

Purchase here:

Hemingway Editor

Addresses lengthy/structurally complex sentences, meandering sentences, hard to read sentences, weak sentences, and passive voice.

Online version: Free

Hemingway Editor 3 – One-time payment: $19.99. (Publish directly to WordPress or Medium with one-click.)

Purchase here:

ProWritingAid

Offers a free trial.

Cost: 1 year for $60, 2 years $90, 3 years $120 and Lifetime $210.

Purchase here:(This is an affiliate link: As a ProWritingAid affiliate, at no additional cost to you, I earn compensation if you click through and make a purchase using this link.)

What editing software program do you use? Comment below and share your favorite feature.

Evelyn Mann is a mother of a miracle and her story has been featured on WFLA Channel 8, Fox35 Orlando, Inspirational Radio and the Catholic News Agency. A special interview with her son on the Facebook Page, Special Books by Special Kids, has received 1.4M views. Along with giving Samuel lots of hugs and kisses, Evelyn enjoys hot tea, sushi and writing. Visit her at miraclemann.com.

Categories
The Picky Pen

Five Ways to Edit Dialogue

When thinking about the dialogue in our story, whether fiction or nonfiction, we must consider perspective. With each story, there should be one main character whose point of view by which the reader experiences the story. Dialogue is one of the storytelling tools that lets you reveal character, advance the plot, establish the setting, and deliver the theme, all at the same time. That means that your dialogue needs to be tight and very easy to read. Well written dialogue ensures that your characters’ conversations will move right along and enhance each of your characters, as well as the overall story message.

I’d like to share several ways you can self-edit your dialogue to make sure it is truly impactful for your readers.

How to edit dialogue

1.  The first way to self-edit your dialogue is to chop down wooden dialogue.

In real life, people stammer and repeat themselves when conversing, but the characters in your manuscript are supposed to sound natural and spontaneous. Wooden dialogue puts a wall between your characters and your readers and actually tells your readers what the characters are doing. Here is an example.

“Joy, why are you raising that hammer above your head?”

“Because I want to hang up this picture.”

This type of dialogue does two things. It tells the reader what the character is doing, and it is stilted conversation that gives narrative details. Because you want your readers to engage in your characters’ lives, you must chop down wooden dialogue so it is smooth instead of stiff or rehearsed. Let’s revise that bit of dialogue to bring out the characters’ personalities.

“Hey, that looks like a hard position to be in, let me help you.”

“Oh, thanks. I thought I was going to fall over.”

Doesn’t that sound a little more interesting? Good dialogue will engage your readers and show your characters’ personalities.

2. The second way to self-edit your dialogue is to get rid of insignificant dialogue.

In real life, people often exchange niceties, such as inquiring how someone is, or discussing the weather. Small talk is a way to cover up nervousness or before discussing more important or sensitive topics. But in our manuscripts, insignificant dialogue kills the dramatic purpose our characters have for each scene. If the purpose of your scene is to show the nervousness of two couples meeting for the first time, then perhaps insignificant dialogue might work, but don’t let it go on and on. The more significant you make your dialogue the more of an impact it will have on your readers. And for the most part, your dialogue needs to reveal the character’s goal and reason for having that particular conversation.

3 . The third way to self-edit your dialogue is to cut out repetitive dialogue.

Have you ever heard two people tell you the same story at the same time? This is what repetitive dialogue tends to do in your manuscript. Then the story gets very monotonous. It’s a good idea to read your dialogue sections out loud and look for repeated words and ideas that stand out to you. Let me give you an example of repetitive dialogue.

“He was elected unanimously. Everybody voted for him.”

This is the same thing twice, doesn’t it? To make this dialogue simpler, choose the strongest piece of dialogue that best conveys the scene’s purpose and the character’s goal in light of the overall message of the manuscript.

4 . The fourth way to self-edit your dialogue is to clothe the naked dialogue.

Readers want dialogue that discusses opinion, involves conflict, and keeps them turning the page. And often, dialogue is unimpressive. To enhance the dialogue so that it is impressive, we can do several things to our dialogue to enhance the reading experience and provide subtext.

Use descriptive tags. A tag helps the reader keep track of who is talking and reveals the characters manner of speaking when the words alone don’t imply it. For instance, “I’m not hungry,” Jerry moaned. what does this tell you about Jerry? Perhaps he is tired or sad. There are so many elements of subtext that we can read into just by the descriptive tag moaned.

Use speaker actions when they contradict or reinforce the spoken words, or when they help the reader picture the scene more easily. For instance, “I’m not hungry,” Jerry moaned, laying his head down on the table. Now how does Jerry feel? We know that by this action, he is tired, therefore, he is not hungry.

5.  The fifth way to self-edit your dialogue is by trimming overdressed dialogue.

Have you ever met someone who is cold-blooded, especially during the summer time and every time you see them they’re always wearing long sleeves? I don’t know about you but sometimes that makes me feel even hotter because that person is overdressed. This can also happen to our dialogue, where we use too much information in our dialogue. There are several ways that dialogue tends to be overdressed.

The use of speaker tags. Speaker tags describe the characters voice, but since it tends to chop up the dialogue, speaker tags should be used as little as possible. The only time it makes sense to use a speaker tag is when the reader might be confused which character is talking. Here is a poor example of overdressed dialogue:

“I’m going to the par-ty,” Isabella said happily, twirling.

“If you don’t stop twirling, you’re going to break something,” Robert said in a warning tone as he folded his arms.

Many times the speaker tags can repeat the tone within the dialogue therefore creating the problem of repetitive dialogue. And as we have already discussed, we can lace our dialogue best with meaningful actions, thoughts, and impressions. There are several ways that we can trim our dialogue.

The use of adverbs. Adverbs slow the reading down and does not engage your reader in the scene or conversation. Here is an example.

“I don’t want to get up at five!” she yelled angrily.

This dialogue reads boring, even though the content is interesting. If we removed the adverb, replacing with character action, we might have a different impression.

She dropped her book bag. “I don’t want to get up at five,” she yelled.

By replacing the adverbs with character action, your readers will get a sense of what the characters want, understand their personality, and be further engaged in the scene because the character actions match the dialogue.

Dialogue is a useful tool and a very important piece of effective storytelling. The time you invest in good self-editing, making sure that your dialogue is effective and important to your character’s motives and goals for the story, your readers will enjoy the richness of each scene that you create.

Please take a minute and join in the discussion! I’d love to hear from you!

What’s your favorite part about writing dialogue?

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
Songwriting

Songwriting: Learning by Listening to The Masters

If you take a songwriting class, the first thing you will learn is to read the top 40 charts in your chosen genre, and then listen to the chart-topping songs over and over for analyzation and to get songwriting ideas. You will be encouraged to listen to similarities in all of the songs and watch for format.

If you are just starting out, there is nothing wrong with taking a shell of a song and then replacing the words with your own words. That is a great tool for learning how to write melodies rhythmically and formulating words together to fit a specific meter, but a bad idea if you are planning to publish the song—because you can get sued.

As a child, I learned by becoming a junior Weird Al Yankovic. I would take famous songs on the radio and change the words to something silly. And then I would perform them for my older sister and her friends and they thought I was hilarious. I dreamed of performing them for the world to see (too bad Youtube was not invented yet!)

If you are a musician, you start by learning theory, learning what chords go together, and then putting together a chord pattern to be a foundation for a lyrical melody. If you don’t play an instrument, you can guide your musical partner by verbally sharing your melody idea. A good place to start is by listening to songs in your genre and start dissecting the melody from the bare lyrics. What works? What doesn’t? As I mentioned in a previous article, sometimes it is easiest to start with a chorus, because that is what your song is about.

Like any bit of writing, you learn the most by watching others, dissecting their work to see why it works or why it doesn’t, and then implementing what you learn. Most recorded albums start from a pool of about thirty songs, and then are narrowed down to fourteen or less to sell to the public. And usually, the pool of thirty songs come from a songbook of about 100 songs scribbled in the writer’s songbook journal.

If you want to be a songwriter, write every single day. Keep a songwriter journal where you jot down your ideas, possible lyrics, melodies, themes, poems, etc. Your songs may suck at first. But writing every day is how you get better. Just like exercising your physical muscles, your growth comes from exercising your writing muscle. I usually write a notebook full of songs per year—most aren’t even complete. And sometimes I pull a Frankenstein where I take two or three songs I wrote and combine them.

When U2 wrote their hit song, Beautiful Day, they actually wrote another song using the exact same music, but with completely different lyrics and melody. Then they chose which melody and chorus they liked for the album best after listening to both versions over and over and over. The band Jars of Clay did the same thing on their If I Left the Zoo album. They made a bunch of demos with different melody lines and choruses. The final project was a culmination of taking the best part of the songs and re-writing the weakest part to improve the song or by creating Frankenstein, chopping up the best parts of two or three songs and adding them together to formulate one incredible song.

If you listen to Jars of Clay’s studio album, If I Left the Zoo, and then again listen to their limited demo album (if you can find it) called White Elephant Sessions, you will hear the same songs, but with different verses, choruses, or melodies. They are letting you in on their songwriting process. After the time slaved to write the physical songwriting portion and then playing the song at many rehearsals comes the recorded demo. Bands will listen to their demo a thousand times, get feedback, and then put the song in the hands of a polished producer to rewrite the song and record the final, polished version. Sometimes that version is an entirely different song from conception.

Whether you are writing songs, novels, or screenplays, the biggest key to survival is being fluid and giving yourself (and producers, editors, publishers, directors, agents, etc.) permission to let go and change what you have written to make it better.

Write it. Step away. Visit it again. Rewrite it. Step away. Rewrite it again.

Don’t marry your first version or first draft. That’s like marrying the first person you ever had a crush on, which may work, but more than not, it can be naïve and suicidal. I know both screenwriters and songwriters who lost a job because they wouldn’t give producers or directors flexibility to change their work.

Do you have a songwriting topic you would like me to discuss? Let me know at matthewhawkeldridge@yahoo.com! Get that songwriting journal and start writing!

Matthew Hawk Eldridge is a coffee loving, calico-cat hugging, Renaissance man. When he’s not passionately penning screenplays or stories rich in musical history, he’s writing songs on his guitar or working on a film as an actor, double, musician, or stand-in. He is a Creative Writing graduate student at Full Sail University.

Categories
The Picky Pen

Editing Dialogue

Many writers are introverts and don’t prefer to talk a lot. Some writers are extroverts and love to talk. For those, speaking isn’t hard at all and is as natural as brushing our teeth or tying our shoes. Even then, writing natural dialogue is a challenge sometimes. (However, writing dialogue is a topic is for a writing blogger on Almost an Author. This is an Editing blog post!)

If writing dialogue is hard, then perhaps editing dialogue is even harder. Where do you put the comma again? Before or after the dialogue tag? How do you format the quotations? Wait . . . what? I have to make my characters sound realistic without making them sound like they’re dumping information? How on earth do I accomplish that?

So . . . let me help clear the air, the pockets of confusion, the panic that’s probably constricting your chest right now. Below are three general rules for editing your dialogue so that your manuscript is clean, efficient, and your readers will fall in love with your characters. (Bold text has been added for emphasis. This does not mean publishers want you to bold these items. It’s merely there for your ease of reference. Please don’t bold anything in your manuscripts.)

Three Rules for Editing Dialogue

1. Insert double quote marks around the beginning and ending of the spoken portions within your story.

Double quote marks, or curly quotes, look like this:

Freddy, if we don’t get moving, it’s gonna rain on us.

There are double quote marks at the beginning of this dialogue and at the end of this dialogue. If your font has straight quote marks, be sure to keep them consistent. Nothing like inconsistency on something so small as quotation marks that sadly ruin a great reading experience!

2. Place the comma on the inside of the quote mark, before the dialogue tag.

As a contest judge and an editor, I constantly mark this common error in manuscripts (and published books!) I’m reading. Proper comma placement within dialogue looks like this:

“She’s a keeper, all right,” Hercules said, looking across the street.

Did you see the comma between the last word and the ending quote mark? Comma goes between those two elements, especially with a dialogue “tag,” such as said, stated, inferred, etc. Not after. Please.

3. Watch for inconsistent structure in dialogue.

Many times, I see beautiful dialogue, but the structure is wonky. When you have action beats and dialogue beats around a segment of dialogue, it can be tricky to know how to organize it. Try this method:

“I’m about as horse crazy as you are.Susan winked. “When I was ten, my parents bought me a pony for Christmas.”

Notice the period at the end of the first sentence and then the quote mark. The action beat comes after. Then the dialogue starts up again.

But what if you want to include a dialogue tag instead of an action beat? Try this method instead:

Laurie wasn’t sure how sick she was, but Dad’s tone did make her feel sick. “Why do I have to go to the hospital?” she called, her voice cracking.

Notice the question mark goes inside the quote mark, followed by a lowercased pronoun and a comma after the dialogue tag and the exposition of how the character’s voice sounded. Please do not capitalize the pronoun after the character speaks. You want to keep good form.

Here are a few excellent resources for you in editing your manuscript:

  • Come to Breathe Christian Writer’s Conference, October 12-13, 2018, where I’ll be teaching two workshops on beginning editing and advanced editing. I’d love to see you there! You can register at Breathe Writer’s Conference. It’s in Michigan, and it’s very affordable!
  • Buy Kathy Ide’s book, Proofreading Secrets of Best-selling Authors, link to purchase from Amazon here. Or win a free copy at one of my Breathe sessions!
  • Buy Joyce K. Ellis’s book, Write With Excellence 201: A lighthearted guide to the serious matter of writing well—for Christian authors, editors, and students, link to purchase from Amazon here. Or win a free copy at one of my Breathe sessions!

I hope this helps you in knowing how to edit your dialogue, or at least some of it. I’m creating a session for beginning editors and advanced writers on editing, and they should be available by the end of the year. I’ll include practical advice that’s helpful and encouraging. Always looking for ways to help authors be able to write easier and not be super worried (maybe you’re not) about editing dialogue. Agents, editors, publishers, and readers just prefer a clean manuscript. And you can confidently give them one by learning these quick tricks!

Join in the discussion! I’d love to hear from you!

Take a few minutes and ruminate. What does your dialogue tell about your characters?

About Tisha Martin

Tisha Martin is a writer and editor, and she lives to encourage authors and editors to bridge their relationships and work together for the publishing industry cause, where readers will treasure books for always. With a bachelor’s in Professional Writing, a master’s in English Education, and an editing certificate from the PEN Institute, she has equal passions for writing and editing. Active in American Christian Fiction Writers and The PEN, she appreciates both communities and has a heart for bridging the relationships between authors and editors. She is the former Assistant Director of PENCON, a conference for editors, where she was instrumental in seeing attendee growth in 2018, up 150% from 2017. Connect with Tisha on her website www.tishamartin.com and on her social media. She looks forward to the conversation!

Categories
The Picky Pen

Editing Is Psychological

Yes. That’s right. Psychological. I promise not to go too deep. Please keep reading. In editing our own manuscripts, we usually know what’s going on, who each character is, and how the story’s going to unfold. What we don’t expect is the sneaky errors that crop up. When we least expect it. When we’re about to hit send or publish, or worse yet, after we’ve sent our manuscript off to the publisher!

And what we don’t expect is that our eyes skip over what’s actually missing because our brains automatically interpret what’s there. Hence the psychological aspect of editing.

How do we fix this, or at least make it more manageable? Ah, well, let’s take a closer look at three common mistakes we all make in editing our writing.

Three Common Psychological Editing Mistakes

  1. Extra spaces.

Extra spaces are a pain, but professional editors loathe them. When editing your manuscript, double check that you don’t have two extra spaces between words or sentences. According to Chicago Manual of Style and nearly every publishing house, one space should appear between sentences. Not the long-standing two spaces. That’s old school. One space and done.

  1. Multiple characters on the first page.

Have you ever entered a room where everyone is talking at once? The noise just engulfs you, making it impossible to focus on any one conversation, much less hear yourself think. If you’re in that family of introverted writers, an experience like this is crippling sometimes.

Just like entering a room full of talking heads, if the first page of your manuscript has too many characters, your readers will want to throw the book at something, anything. Readers want to know who, what, and why when they read the first page.

Rule of thumb: To keep a reader, introduce at least two characters—the protagonist and an important secondary character—on the first page to get the story off on the right foot with your readers. You can add more characters as needed on the second and preceding pages, but please stick to simple on the first page. Your readers will thank you.

  1. Redundant phrases or repetitive words.

In the writing stage, you write whatever comes to your mind just to put words down on paper. And in the reading stage, you skip over these most common phrases you use in everyday speech. But in the editing stage, you don’t even notice these redundant phrases because you’re focused on characterization, plot, dialogue, or whatever you know you need to work on the most. With redundant phrases, you can usually delete one of the words and your sentence will breathe easier.

Hey, I’m preaching at myself here! The other day I was editing my own WIP and noticed with great horror that (take notice of the strikethrough, it isn’t necessary here!) I used “even” four times within four preceding paragraphs! I was so mortified that the words choked me, and I scrambled to revise my sentences.

Here are a few redundant phrases to watch out for:

  • Final outcome (outcome)
  • False pretense (pretense)
  • Absolutely certain (certain)
  • Completely finished (finished)
  • Sat down (sat)

Now, that wasn’t too hard, psychologically speaking, was it? It’s so easy to gloss over the obvious mistakes in our manuscripts. Therefore, taking that extra special effort (see what I did there?) to shore up the little issues that really make a difference in the long run—for you, your characters, your agent, your editor, your publisher, and for your readers. Not to mention your manuscript because it’s now a squeaky-clean product!

Join in the discussion!

Take a few minutes and ruminate. What are some editorial issues you fail to notice in your manuscript on first or second or final read-through?

About Tisha Martin

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
Writers Chat

Self-Editing Tips for Writers

So you’ve finally finished your first draft. Congratulations! Truth is, you’ve only just begun. In this episode of Writers Chat, discover best practices for taking your hunk of unfinished writing to a polished masterpiece.

Join us!

Writers Chat is hosted live each Tuesday for an hour starting at 10 AM CT / 11 AM ET
on Zoom. Participants mute their audio and video during the filming, then we open up
the room for anyone who wishes to participate with our guests. The “After Party” is a
fifteen-minutes of off-the-record sharing and conversation.

Additionally, you can grow your network and add to the conversation by joining our
Facebook Group.

Categories
The Writer's PenCase

Seamless Self-Editing––Part VII

This time, we’re continuing our look at self-editing with tips from Self-Editing for Fiction Writers, by Browne and King. We’re going to look at Proportion and Dialogue Mechanics, two chapters from this resource. Because our space is limited, I’ll only summarize a few points from each chapter. [bctt tweet=”Editing our work ourselves will improve our chances at becoming publish-ready.” username=”@A3forme @donnalhsmith”] #amwriting #self-editing

Categories
The Writer's PenCase

Seamless Self-Editing––Part VI

Writer's PenCase-2We all want our manuscripts to be the best they can be. In the past, we’ve relied on unskilled critique partners, groups, and professional editors to do our work for us. But, [bctt tweet=”Prospective authors must learn how to edit their own work to the point where a publisher will consider it as it.” username=”@a3forme @donnalhsmith”] #amwriting #publishready

Categories
Craft The Writer's PenCase

Seamless Self-Editing––Part IV

Writer's PenCase-2Getting published traditionally is difficult. Small publishers are more likely to accept a manuscript from a previously unpublished author, yet they are the ones who require “publish-ready” submissions. [bctt tweet=”Self-editing is a challenge to improve our own writing. ” username=”@a3forme @donnalhsmith”]#amwriting #selfediting

Categories
The Writer's PenCase

Seamless Self-Editing—Part I

The Writer's PenCase
The Writer’s PenCase

You hear it more and more these days. [bctt tweet=”Your manuscript must be “publish-ready” in order for it to be considered. ” username=””] What does “publish-ready” mean? How can self-editing help? #amwriting #publish-ready #self-editing

For the next few blog posts, we’ll look at this and how you can improve your raw writing into something closer to “publish-ready.” I’ll be using several resources for this.